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Pity

Pity is an emotion characterized by a feeling of sorrow or pain aroused by the undeserved misfortune or suffering of another person, typically involving a perception of their vulnerability and a sense of moral concern for their welfare.^[1] In philosophical traditions, particularly in Aristotle's Rhetoric, pity is defined as "a feeling of pain caused by the sight of some evil, destructive or painful, which befalls one who does not deserve it, and which we might expect to befall ourselves or some friend of ours, and moreover to befall us soon."^[1] This definition underscores pity's connection to empathy through imagined self-relevance, positioning it as a key element in ethical reasoning and tragic drama, where it evokes catharsis alongside fear in audiences.^[2] From a psychological perspective, pity is an other-oriented negative emotion triggered by the appraisal of another's distress or need, often resulting from a downward social comparison that highlights the sufferer's lower status or competence.^[3] Unlike empathy, which involves emotional sharing, or sympathy, which may include self-referential elements, pity focuses primarily on the other's plight and can motivate prosocial behaviors such as donations or support for disadvantaged groups, though it sometimes carries connotations of condescension or emotional distance.^[3] Research indicates that pity arises from cognitive evaluations of undeserved harm, leading to increased arousal and a drive to alleviate the observed suffering, particularly when the victim is seen as blameless.^[3] Philosophically, pity has been both valorized and critiqued across history: Aristotle linked it to virtue and rhetorical persuasion, while later thinkers like Nietzsche condemned it as a life-denying force that perpetuates weakness, and Hume praised it as a sympathetic bond essential to human society.^[4] In modern ethics, its moral status remains debated, with some viewing it as a compassionate response aligned with equality and others as potentially patronizing, interfering with the recipient's autonomy.^[4] Psychologically, pity's ambivalence—blending altruism with possible egoistic relief—highlights its role in social dynamics, influencing behaviors from charitable giving to interpersonal relations, though it can hinder action if perceived as hopeless.^[3]

Definition and Overview

Definition

Pity is an emotion characterized by sympathetic sorrow or distress aroused by the suffering or misfortune of another person, often involving a perception of the sufferer's vulnerability and one's own relative security or helplessness to intervene effectively.^[5] This response typically arises from a cognitive appraisal that the misfortune is significant and, in many cases, undeserved, triggering an affective experience of sadness on behalf of the other, and potentially motivating prosocial behaviors such as offering comfort or aid.^[6] Key components include this evaluative judgment of the situation, the emotional arousal of sorrow, and a behavioral inclination to alleviate the distress, though the latter may be tempered by feelings of powerlessness.^[7] Pity can manifest in two primary forms: benevolent pity, which aligns closely with genuine compassion and prompts empathetic actions to support the sufferer, and contemptuous pity, which incorporates elements of disdain or condescension, viewing the other as inferior.^[8] In contrast, self-pity directs this sympathetic sorrow inward, representing heartfelt distress over one's own physical or mental suffering, often in response to perceived uncontrollable stressors, and is frequently regarded as less constructive for social or personal growth compared to outward-directed pity.^[9] Pity is distinct from related emotions such as sympathy, a broader sense of fellow-feeling or shared sorrow without the specific implication of superiority, and compassion, which emphasizes an active, non-judgmental motivation to help mitigate suffering absent the potential condescension inherent in pity.^[10]^[11] While philosophical critiques sometimes highlight pity's association with a sense of superiority, this element underscores its complex interplay between empathy and subtle power dynamics.^[6]

Etymology and Historical Usage

The word "pity" entered English in the mid-13th century as "pitē," denoting compassion, mercy, or sympathetic sorrow for another's suffering, derived from Old French "pité" (12th century), which itself stems from Latin "pietās," originally signifying piety, dutiful devotion, or tender regard toward gods, family, and others.^[12] This Latin root, from "pius" meaning pious or dutiful, initially emphasized moral obligation and reverence rather than mere emotional response, with post-classical Latin extending "pietās" to include compassion or mercy by the time it influenced medieval European languages.^[13] In Middle English, the term appeared as "pite" before 1250, often connoting kindness, mercy, or clemency, as evidenced in religious and moral texts like the Ancrene Wisse, a guide for anchoresses stressing compassionate conduct.^[14] By the 14th century, "pite" evolved in usage to blend mercy with empathetic sorrow, prominently featured in Geoffrey Chaucer's works, such as his "Complaint unto Pity" (c. 1370s), where Pity is personified as a deceased virtue essential for alleviating human woe, reflecting a medieval Christian emphasis on charitable sympathy. This sense persisted into the early modern period, but by the 16th century, the term increasingly highlighted sorrowful commiseration for misfortune, distancing it from pure piety while retaining undertones of moral duty, as seen in translations and rhetorical treatises.^[12] In classical antiquity, the concept of pity predates the English term, rooted in Greek "élekos" (ἔλεος), which Aristotle defined in his Rhetoric (4th century BCE) as a painful emotion aroused by the sight of undeserved calamity befalling someone like oneself, often evoked in tragic drama to purge such feelings through catharsis.^[15] Roman thinkers adapted this as "misericordia," literally "heart-suffering," with Cicero in De Oratore (1st century BCE) describing it as an orator's tool to stir judicial sympathy by appealing to shared vulnerability, though he cautioned against excess to avoid weakening resolve.^[16] These ancient notions influenced later Western understandings, framing pity as both a rhetorical emotion and a marker of humane virtue. Biblical translations further shaped "pity's" connotations, particularly in English versions like the King James Bible (1611), where it renders Hebrew terms such as "chāmal" (to spare or show compassion) in contexts of divine mercy, as in Proverbs 19:17: "He that hath pity upon the poor lendeth unto the Lord."^[17] Such usages reinforced pity as an act of godly tenderness toward the afflicted, bridging classical pity with Christian ideals of charitable intervention and influencing its moral framing in early modern English literature and ethics.^[18]

Psychological Perspectives

Classical and Psychoanalytic Views

In psychoanalytic theory, pity is often understood as a complex emotion arising from unconscious processes, particularly identification with the sufferer, which allows individuals to confront their own repressed vulnerabilities. Sigmund Freud viewed pity as a reaction-formation against underlying aggressive impulses, transforming cruelty into a more socially acceptable tender response. This sublimation is rooted in early childhood experiences, where the infant's sense of helplessness and vulnerability fosters a defensive empathy toward others' suffering to manage one's own fears of weakness. Freud argued that such reaction-formations, including pity, emerge as the ego develops mechanisms to counteract destructive instincts, facilitating emotional equilibrium.^[19] Classical psychology, as articulated by William McDougall in the early 20th century, positioned pity within an instinct-based framework as a primary social emotion derived from the parental or tender instinct. McDougall described the tender emotion as an innate impulse to protect and cherish the young or helpless, which extends to adults in distress, evoking sympathetic pain and benevolent action. In this view, pity manifests when the tender emotion combines with perceptions of another's misfortune, without complicating hostile sentiments, promoting social cohesion through altruism and moral sentiments like gratitude and benevolence. McDougall emphasized that this instinct, observed across species, intellectualizes in humans into broader compassionate responses, underscoring its evolutionary role in group survival.^[20] The identification process central to pity involves projecting one's own unresolved fears and vulnerabilities onto the misfortunes of others, culminating in emotional catharsis. Psychoanalytic accounts highlight how observing suffering triggers an unconscious merger with the afflicted, allowing the release of pent-up anxieties through shared distress, akin to the purgative function in tragedy. This projection not only alleviates internal tension but also reinforces ego defenses against personal fragility, transforming raw fear into a structured emotional response.^[21] Within psychoanalysis, Melanie Klein extended these ideas by linking pity to guilt arising from aggressive impulses directed toward the weak or dependent. In the depressive position, children (and later adults) experience remorse for phantasied attacks on loved objects, prompting reparative efforts that include sympathetic pity to restore the damaged internal world. Klein posited that this guilt over innate destructiveness motivates compassionate acts, where pity serves as a manic or depressive defense to mitigate the fear of loss and persecution. Such critiques refine Freud's framework by emphasizing object-relations dynamics, where pity emerges from the interplay of love, envy, and the urge to repair perceived harm to vulnerable figures.^[22]

Modern Psychological Research

Modern psychological research distinguishes pity from empathy by emphasizing pity's inclusion of a moral judgment component, often involving sorrow for another's misfortune combined with an evaluation of their deservingness or vulnerability, whereas empathy primarily entails sharing or understanding another's emotional state without such appraisal. Studies from the 1990s and 2000s, including those exploring emotional responses, highlight that pity arises in contexts of observed suffering where the observer perceives the sufferer as blameless or helpless, adding a layer of compassionate concern absent in pure affective empathy. For instance, research on emotional expressions and social responses indicates that pity engages cognitive processes that assess ethical implications, differentiating it from the more automatic mirroring in empathy.^[23] Neuroscience investigations using functional magnetic resonance imaging (fMRI) have identified key brain regions activated during pity-like responses to observed suffering, particularly the anterior insula and anterior cingulate cortex, which process affective aspects of pain and emotional distress. A seminal 2004 study by Singer and colleagues demonstrated that when participants viewed a loved one receiving painful stimuli, these regions showed heightened activation, reflecting an empathic sharing of emotional pain that aligns with pity's compassionate orientation toward others' vulnerability, without engaging sensory pain areas. Subsequent fMRI research has corroborated this, showing that pity responses to social or physical suffering recruit these cortical areas to facilitate emotional resonance and concern.^[24] Developmental studies reveal that pity emerges in children around ages 3 to 5, coinciding with advances in perspective-taking abilities that enable understanding others' internal states. Jean Decety's work in the 2010s, using electrophysiological measures like EEG and event-related potentials (ERPs), found that preschoolers exhibit enhanced neural responses associated with empathic concern during tasks involving observed distress, particularly when prompted to take the perspective of a suffering peer. These findings suggest that pity develops through the integration of affective sharing and cognitive perspective-taking, with children displaying prosocial reactions like comforting behaviors by age 4.^[25]^[26] In terms of social implications, research on pity's role in prosocial behavior draws heavily from C. Daniel Batson's empathy-altruism hypothesis, proposed in the 1980s and tested extensively thereafter, which posits that pity—framed as empathic concern—motivates altruistic helping aimed at relieving others' suffering rather than reducing the observer's own distress. Experimental paradigms, such as those manipulating escape options from witnessing need, consistently show that high levels of pity lead to greater willingness to assist, even at personal cost, supporting the hypothesis over egoistic alternatives. This body of work underscores pity as a driver of genuine prosocial actions in social contexts.^[27] Recent trends up to 2025 indicate that digital media may attenuate pity responses compared to face-to-face interactions, with online contexts often yielding reduced empathic engagement due to diminished nonverbal cues and emotional immediacy. Studies from the 2020s, including analyses of adolescent social media use, report negative associations between heavy online exposure and empathy levels, suggesting that virtual suffering depictions elicit weaker pity and prosocial intentions than direct interpersonal encounters. For example, research comparing communication modes found that face-to-face exchanges foster stronger emotional connections and compassionate responses than digital ones, potentially exacerbating empathy gaps in increasingly online social environments.^[28]^[29]

Philosophical Perspectives

Ancient Philosophy

In ancient Greek philosophy, pity, known as eleos, played a central role in both rhetorical and poetic theory, particularly in the works of Aristotle. In his Rhetoric, Aristotle defines pity as "a feeling of pain caused by the sight of some evil, destructive or painful, which befalls one who does not deserve it, and which we might expect to befall ourselves or some friend of ours, and moreover to befall us soon."^[30] He emphasizes that pity arises from perceiving the sufferer as similar to oneself in age, character, or circumstances, and from evils that are undeserved, such as death, injury, or isolation, thereby making it a powerful tool for persuasion in oratory.^[30] In the Poetics, Aristotle extends this to tragedy, where eleos is one of two key emotions—alongside fear—that the plot must evoke to achieve catharsis, the purging of these feelings through representation.^[31] He specifies that pity is most effectively aroused by unmerited misfortune befalling a character who is neither wholly virtuous nor villainous, but someone like oneself, such as through a hamartia or error leading to a reversal of fortune, as exemplified in the story of Oedipus.^[31] Plato, in contrast, exhibited ambivalence toward pity, viewing it as potentially corrosive to the soul while acknowledging its limited utility in moral education through poetry. In Book III of the Republic, he critiques the imitation of lamenting or pitying figures in poetry, arguing that such representations weaken the guardians' courage and self-control by encouraging emotional excess over rational restraint.^[32] Pity, in this context, is seen as an irrational response that disrupts the soul's harmony, making individuals more susceptible to fear and less capable of enduring hardship.^[32] Yet, in Book X, Plato concedes that regulated poetic forms might harness pity for ethical purposes, such as teaching virtue, though he ultimately bans most imitative poetry from the ideal state because it nourishes the soul's lower, appetitive parts and undermines philosophical reason.^[32] The Stoics, including Epictetus and Seneca, rejected pity as an irrational passion, advocating instead for a reasoned form of compassion aligned with virtue and humanitas. Epictetus, in his Discourses (e.g., 3.24), portrays pity as misplaced when directed at physical afflictions, urging focus on spiritual failings—like ignorance of what is truly good—where a rational sympathy might guide others toward self-improvement without emotional disturbance.^[33] Seneca, in De Clementia (On Mercy), distinguishes pity sharply from mercy, defining the former as "a weakness of the mind that is over-much perturbed by suffering," unfit for the wise ruler or individual, as it stems from fear of personal vulnerability rather than steady benevolence.^[34] He promotes clementia as a rational alternative—humane and just compassion that aids others without succumbing to emotional turmoil—thus preserving the Stoic ideal of apatheia, or freedom from destructive passions.^[35] In non-Western ancient philosophy, the Confucian concept of ren (benevolence) in the Analects (compiled around the 5th century BCE) incorporates elements of pity-like tenderness, emphasizing empathetic care without implying superiority or condescension. Ren is described as the comprehensive virtue of humaneness, manifesting as love for others, compassion, and altruism, rooted in reciprocity and relational harmony rather than detached observation of suffering.^[36] For instance, Confucius teaches that ren involves overcoming self-centeredness to extend kindness universally, akin to a tender concern for the vulnerable that fosters social order and moral cultivation.^[37] This approach integrates emotional responsiveness—such as sympathy for the distressed—into ethical practice, prioritizing benevolence as the foundation of all virtues without the hierarchical pity critiqued in some Greek traditions.^[38]

Modern and Contemporary Philosophy

In modern philosophy, David Hume provided a foundational analysis of pity within his moral sentimentalism. In A Treatise of Human Nature (1739), Hume describes pity, or compassion, as arising from sympathy, a mechanism by which individuals imaginatively project their own potential suffering onto others in distress, thereby converting an idea of another's pain into a felt impression of sorrow.^[39] This process relies on resemblance between oneself and the sufferer, contiguity, and a lively imagination, making pity a secondary passion that underpins moral approval and social bonds.^[40] Hume's view positions pity as essential to humanity's moral sentiments, distinguishing it from self-interest and enabling benevolence without rational calculation. Immanuel Kant offered a contrasting rationalist perspective in his Metaphysics of Morals (1797), particularly in the "Doctrine of Virtue," where he critiques pity (Mitleid) as a pathological feeling unsuitable as a direct moral motive. Kant argues that while sympathy or pity can serve as an indirect incentive to duty by softening the heart, true morality must stem from respect for the moral law (categorical imperative), not emotional responses that might lead to partiality or weakness. He distinguishes practical (moral) from pathological (emotional) sympathy, allowing the latter only as a tool to cultivate benevolence under rational control.^[41] Building on Enlightenment naturalism, Jean-Jacques Rousseau offered a contrasting yet complementary perspective in Discourse on the Origin and Basis of Inequality Among Men (1755). Rousseau posits pity as one of two innate principles guiding human behavior in the state of nature, defined as "an innate repugnance to see his fellow suffer," which tempers self-preservation and fosters natural harmony among isolated individuals.^[42] Unlike artificial societal virtues, this pre-social emotion preserves humanity's inherent goodness, preventing the "purely destructive passions" that emerge from civilization and inequality. For Rousseau, pity thus serves as a bulwark against moral corruption, emphasizing emotional instincts over reason in ethical foundations.^[43] In the 19th century, Arthur Schopenhauer elevated pity to the cornerstone of ethics in On the Basis of Morality (1840), arguing that it arises from the immediate recognition of shared suffering in the will-to-live, transcending egoism. For Schopenhauer, compassion (Mitleid) motivates moral action by identifying the self in the other, making it the only genuine basis for justice and virtue, independent of divine commands or rational calculation. This view influenced later thinkers, positioning pity as an intuitive negation of the principle of individuation.^[44] The 19th century also brought sharp critiques of pity from Friedrich Nietzsche, who viewed it as a debilitating force in modern ethics. In Thus Spoke Zarathustra (1883–1885), Nietzsche portrays pity as a Christian-inherited weakness that crucifies the strong through excessive concern for the suffering masses, leading to the nihilistic "last man" who prioritizes comfort over vitality.^[45] Expanding this in On the Genealogy of Morals (1887), he argues that pity originates from ressentiment in slave morality, multiplying suffering by focusing on weakness and undermining life's affirmative power, ultimately fostering mediocrity and herd conformity.^[46] Nietzsche's rejection frames pity not as moral progress but as a decadent ideology that negates human potential for greatness. In 20th- and 21st-century philosophy, pity—often reframed as compassion—has undergone reevaluation amid ethical and political debates. Martha Nussbaum defends it in Upheavals of Thought: The Intelligence of Emotions (2001) as a cognitively rich emotion essential for justice, involving recognition of another's serious misfortune as significant to one's own scheme of ends, thus motivating societal responses to vulnerability without paternalism.^[47] She argues that cultivating appropriate compassion in public life counters inequalities, drawing on ancient models while adapting to liberal democracies, where it bridges private emotions and political action.^[48] Conversely, Slavoj Žižek critiques pity in his 2000s works, such as The Fragile Absolute (2000) and Violence (2008), as an ideological tool of liberal capitalism that manipulates empathy to sustain systemic exploitation, diverting attention from structural violence toward superficial humanitarian gestures. For Žižek, this postmodern deployment of pity reinforces the status quo by framing suffering as individual rather than politically produced.^[49]

Religious and Cultural Views

In Abrahamic Religions

In Judaism, pity manifests as rachamim, a term rooted in the Hebrew word for "womb" (rechem), evoking maternal compassion and tenderness toward the vulnerable. This concept underscores God's merciful disposition, as articulated in the Torah at Exodus 33:19, where God declares to Moses, "I will have mercy on whom I have mercy, and I will have compassion on whom I have compassion," emphasizing divine sovereignty in extending grace. Jewish theology views rachamim as an attribute humans must emulate, fostering ethical imperatives to aid the suffering, as rabbinic teachings urge imitation of God's ways in showing compassion to others.^[50] In Christianity, the New Testament elevates pity as a central expression of divine love, exemplified by Jesus' compassionate actions amid human affliction. For instance, in Matthew 14:14, upon seeing a large crowd, "Jesus went out and had compassion on them and healed their sick," linking pity directly to miraculous intervention and fulfillment of messianic prophecy. This portrayal frames pity not merely as emotion but as a motivator for redemptive acts, influencing early Christian ethics. Thomas Aquinas further synthesized this with Aristotelian notions of pity—understood as sorrow for undeserved misfortune—by subordinating it to caritas (charity), the theological virtue of loving God and neighbor, thereby transforming secular empathy into a graced participation in divine mercy.^[51] In Islam, rahma (mercy) ranks among Allah's foremost attributes, integral to His essence and interactions with creation. The Quran affirms this in Surah Al-A'raf 7:156: "My mercy encompasses all things," portraying divine pity as boundless and prior to judgment, extending even to those who err. Prophetic hadiths reinforce human application of rahma, urging compassion for the vulnerable; for example, the Prophet Muhammad stated, "The merciful are shown mercy by the Most Merciful; be merciful on earth and the One in the heavens will be merciful to you," particularly toward orphans, the poor, and the afflicted, as acts of pity invite reciprocal divine favor. Theological discourse in Abrahamic traditions grapples with tensions between pity and divine justice, particularly regarding sinners. Augustine of Hippo addresses this in works like City of God, arguing that God's mercy tempers wrath without compromising righteousness: while sinners justly deserve punishment, divine pity—manifest in Christ's atonement—offers unmerited forgiveness to the repentant, preserving the harmony of justice and grace.^[52] This balance warns against presuming on mercy while affirming its role in redemption, a motif echoed across Jewish, Christian, and Islamic exegeses.

In Eastern Traditions

In Hinduism, pity is conceptualized as daya, a form of compassionate mercy that encourages empathy and non-violence toward all beings, integral to fulfilling one's dharma or duty. In the Bhagavad Gita, dated to around the 2nd century BCE, Lord Krishna advises the warrior Arjuna, who is overcome with pity for his kin on the battlefield, to transcend personal attachment while acting with daya toward all creation, balancing righteous action with universal compassion to avoid moral paralysis.^[53]^[54] This portrayal underscores daya as a virtue that aligns individual duty with cosmic harmony, preventing pity from becoming indulgent sorrow but instead motivating ethical conduct.^[55] In Buddhism, particularly within Mahayana traditions, pity manifests as karuna, one of the four brahmaviharas (divine abodes) that cultivate boundless compassion to alleviate suffering. The Lotus Sutra, composed in the 1st century CE, emphasizes karuna as essential for the bodhisattva path, where enlightened beings voluntarily delay their own nirvana to aid others, embodying selfless pity as a cornerstone of enlightenment and the interconnectedness of all sentient life.^[56]^[57] This active compassion transforms pity from mere sympathy into a dynamic force for universal liberation, as seen in the bodhisattva's vow to relieve dukkha (suffering) across lifetimes.^[58] Confucianism integrates elements of pity into ren (humaneness or benevolence), viewing it as an innate sprout of moral virtue arising from natural feelings of commiseration. In the Mencius, a text from the 3rd century BCE, Mencius describes the "heart of compassion" (ceyin) as the foundational germ of ren, illustrated by the instinctive pity one feels for a child near a well, which extends to broader ethical responsibilities without sentimentality.^[59]^[60] In Taoism, pity aligns with ci (compassion), one of the three treasures, but is tempered by wu wei (non-action or effortless action), promoting non-interference to allow natural harmony rather than forced intervention that could disrupt the Tao.^[61] This approach ensures pity fosters spontaneous benevolence, avoiding overreach in social or personal affairs as outlined in the Tao Te Ching.^[62] In the 20th century, modern adaptations of these traditions, particularly through the teachings of the Dalai Lama, have integrated karuna into global ethics, emphasizing compassion as a universal principle for addressing contemporary issues like conflict and inequality. The Dalai Lama, drawing from Mahayana Buddhism, advocates karuna not only as a path to personal enlightenment but as a practical ethic for fostering international responsibility and reducing suffering worldwide, as explored in his writings on secular compassion applicable beyond religious boundaries.^[63]^[64] This evolution highlights pity's role in bridging Eastern spiritual practices with modern humanitarian efforts, promoting empathy as a foundation for ethical global citizenship.^[65]

Historical Developments

Medieval and Renaissance Conceptions

In medieval theology, pity was synthesized with Christian doctrine through the scholastic framework, particularly in Thomas Aquinas's Summa Theologica (1265–1274), where it is treated as misericordia, an ordinate sorrow or compassion for another's undeserved misfortune that aligns Aristotelian pity—defined as pain at the sight of a friend's undeserved harm—with divine mercy as a virtue prompting aid.^[66] Aquinas positioned misericordia as the greatest of virtues after charity, emphasizing its role in imitating God's compassion while distinguishing it from excessive emotional indulgence that could undermine justice. This reconciliation bridged classical philosophy and Christian ethics, portraying pity not merely as an emotion but as a moral disposition essential for human flourishing within a providential order.^[67] Scholastic debates extended pity's influence into chivalric codes and mystical writings, where it embodied mercy toward the vulnerable as a knightly duty and a path to divine union. In chivalric ideals, such as those codified in treatises like Ramon Llull's Book of the Order of Chivalry (c. 1274–1276), pity manifested as noblesse oblige, requiring knights to protect the weak and show clemency in combat, reflecting scholastic virtues like Aquinas's misericordia to temper martial prowess with ethical restraint.^[68] Similarly, in mystical literature, Julian of Norwich's Revelations of Divine Love (c. 1395) frames pity as integral to God's nurturing love, describing it as an unceasing compassion that sustains humanity amid suffering, akin to a mother's tenderness, and urging believers to respond with empathetic solidarity.^[69] These texts highlight pity's dual role in medieval thought: as a social regulator in secular codes and a spiritual conduit in contemplative traditions. During the Renaissance, conceptions of pity evolved to reveal greater ambivalence, blending medieval moralism with emerging humanistic scrutiny of human frailty, as seen in William Shakespeare's King Lear (1606), where pity shifts from redemptive force to tragic catalyst. In the play, characters like Cordelia embody restorative pity through selfless forgiveness, yet Lear's own pleas for pity—such as his storm-swept invocation of communal compassion—expose its limits, leading to despair when unmet and underscoring pity's potential to exacerbate suffering in a disordered world.^[70] This portrayal reflects broader Renaissance tensions, influenced by classical revivals, where pity could redeem through empathy or precipitate downfall by highlighting existential isolation. Geoffrey Chaucer's earlier The Knight's Tale (c. 1380s) anticipates this by depicting "pite" as a noble emotion tied to gentility, as when Theseus grants mercy to suppliant women, portraying it as both tender sentiment and virtuous ideal in courtly settings.^[71]

Enlightenment and Beyond

During the Enlightenment, pity was reconceptualized within a framework of rational optimism and moral philosophy, emphasizing its role in fostering social cohesion. Adam Smith, in his Theory of Moral Sentiments (1759), described pity as a form of "fellow-feeling with the sorrow of others," distinguishing it from broader sympathy while arguing that both emotions enable impartial spectators to align with others' passions, thereby moderating self-interest and binding society through shared moral sentiments.^[72] This spectator-based sympathy, Smith contended, drives ethical behavior and communal harmony, as individuals imagine themselves in others' situations to cultivate benevolence and justice.^[72] In the Romantic era of the early 19th century, poets like William Wordsworth and Samuel Taylor Coleridge elevated pity as an empathetic bridge to nature and human suffering, celebrating it as a vital force for emotional and spiritual connection. Wordsworth's works, such as those in Lyrical Ballads (1798, expanded 1800), invoked pity through depictions of rural hardship and isolation, portraying it as a compassionate response that unites the observer with the marginalized, fostering a deeper appreciation of humanity's shared vulnerabilities.^[73] Coleridge similarly integrated pity into his poetic vision, as in The Rime of the Ancient Mariner (1798), where it emerges as a transformative empathy that reconciles the individual with the natural world and collective moral order, countering Enlightenment rationalism with intuitive fellow-feeling.^[73] By the 19th and early 20th centuries, pity became central to social reform movements like abolitionism and emerging welfare efforts, though it faced growing critiques for enabling paternalistic attitudes. Harriet Beecher Stowe's Uncle Tom's Cabin (1852) harnessed pity to galvanize anti-slavery sentiment, appealing to readers' compassion for enslaved individuals' suffering—particularly the separation of families—to awaken moral outrage and spur action against systemic injustice.^[74] In welfare contexts, such as 19th-century British Poor Law reforms and American charity organizations, pity motivated aid distribution but was increasingly criticized for reinforcing hierarchies, as seen in the Charity Organization Society's (founded 1869) emphasis on casework to distinguish "deserving" from "undeserving" poor, viewing unchecked pity as fostering dependency and moral condescension.^[75] This paternalistic lens, where benefactors positioned themselves as superior saviors, persisted into 20th-century social work, prompting debates on whether pity undermined recipients' autonomy.^[76] Post-World War II existentialist thought marked a shift, reevaluating pity as potentially inauthentic in human relations amid rising secularism and disillusionment. Jean-Paul Sartre, in Being and Nothingness (1943), explored concepts like bad faith and objectification in interpersonal dynamics, critiquing emotional postures that deny others' freedom and evade authentic reciprocity, with implications for attitudes like pity toward perceived victims.^[77] This critique highlighted pity's risk of perpetuating alienation in modern society, urging instead a confrontational solidarity that acknowledges mutual agency.^[77]

Representations in Literature and Arts

Literary Examples

In classical literature, Juvenal's Satires, particularly Satire 13 from the late 1st or early 2nd century CE, satirize false pity within Roman society by mocking insincere expressions of sympathy for a defrauded friend named Calvinus. Juvenal adopts the form of a consolatio—a traditional consolation poem—to ironically expose how societal condolences mask self-interest and hypocrisy, portraying pity as a performative social ritual rather than genuine compassion. This narrative function underscores the corruption of Roman elite values, using exaggerated lamentations to critique the emptiness of public grief.^[78] During the medieval period, Dante Alighieri's Inferno (c. 1320), the first part of The Divine Comedy, employs pity to provoke complex reader responses toward the sinners encountered in Hell, blending emotional sympathy with theological judgment. Dante's protagonist is overcome with pity for figures like Francesca da Rimini in Canto 5 and faints, evoking pathos through vivid depictions of torment that humanize the damned and challenge readers to confront their own potential for sin. This technique heightens narrative tension by juxtaposing personal compassion against divine justice, emphasizing the sinners' self-chosen fates.^[79] In the Renaissance, John Milton's Paradise Lost (1667) explores divine pity as an expression of God's mercy toward fallen humanity, contrasting it with Satan's fleeting human-like compassion. In Book 3, the Son of God intercedes for Adam and Eve, advocating redemption despite their disobedience, which illustrates pity as a redemptive force rooted in divine love rather than weakness. Satan, observing the pair in Book 4, momentarily feels pity mingled with envy, revealing his internal conflict and underscoring the epic's theme of free will and grace. This portrayal functions narratively to justify God's ways, transforming pity from a tragic emotion into a pathway for salvation.^[80]^[81] The 19th century saw Charles Dickens' Oliver Twist (1838) evoke social pity for the impoverished to critique Victorian England's treatment of the poor, particularly orphans under the Poor Law system. Through Oliver's hardships in the workhouse and criminal underworld, Dickens elicits reader sympathy to highlight systemic cruelty, as seen in scenes of starvation and exploitation that humanize the vulnerable and demand societal reform. Pity here serves a didactic narrative role, fostering empathy to expose class inequalities and advocate for benevolence toward the lower classes.^[82] In 20th-century poetry, Wilfred Owen's World War I works (1917–1918), such as "Dulce et Decorum Est" and "Anthem for Doomed Youth," critique war's false glory by centering the pity of human suffering on the front lines. Owen's preface to his poems declares his subject as "War, and the pity of War," using graphic imagery of gas attacks and lost youth to evoke indignation and shared trauma, bridging soldiers' and civilians' experiences. This emotional appeal functions narratively to dismantle patriotic myths, promoting a universal brotherhood in grief that indicts the war's dehumanizing costs.^[83] In modern fantasy, J.R.R. Tolkien's The Lord of the Rings (1954–1955) depicts Gandalf's pity for Gollum as a pivotal redemptive force that drives the quest's eucatastrophic resolution. Advising Frodo that "many that live deserve death... [but] be not too eager to deal out death in judgment," Gandalf emphasizes mercy's power, as Bilbo's and Frodo's sparing of Gollum—despite his treachery—leads to the Ring's destruction when Gollum falls into the fire. This theme narratively elevates pity as a moral strength, countering despair and enabling unexpected salvation against overwhelming evil.^[84]

In Visual Arts and Media

In Renaissance art, Michelangelo's Pietà (1499), a Carrara marble sculpture housed in St. Peter's Basilica, exemplifies pity through the depiction of the Virgin Mary cradling the lifeless body of Jesus Christ after his crucifixion. The title Pietà, meaning "pity" or "compassion" in Italian, symbolizes Mary's maternal sorrow and divine mercy, inviting viewers to contemplate the emotional depth of loss and redemption in Christian iconography.^[85] In 19th-century painting, Francisco Goya's The Third of May 1808 (1814), an oil on canvas now in the Museo del Prado, powerfully evokes pity for the victims of Napoleonic executioners during the Peninsular War. The central figure, a defenseless man in a white shirt raising his arms in desperation, contrasts sharply with the faceless soldiers, emphasizing the heroism and tragic vulnerability of the Spanish rebels to stir moral outrage and sympathy.^[86] Film representations of pity often explore its role in personal and collective redemption. Frank Capra's It's a Wonderful Life (1946) employs pity as a catalyst for the protagonist George Bailey's transformation; through an angel's intervention revealing the void his absence would create, the narrative shifts from self-despair to communal affirmation, highlighting pity's power in fostering hope amid hardship. Similarly, Steven Spielberg's Schindler's List (1993), a black-and-white depiction of the Holocaust, portrays the moral weight of pity through Oskar Schindler's evolving compassion for Jewish prisoners, culminating in his anguished realization at war's end that he could have saved more lives, underscoring pity's ethical imperatives in the face of genocide.^[87]^[88] In contemporary media, social media campaigns like #RefugeesWelcome, which surged in the 2010s amid the European migrant crisis, harnessed viral imagery to evoke widespread empathy for displaced persons fleeing conflict. However, such efforts also highlight the tension between initial surges of pity-driven solidarity and subsequent compassion fatigue, where prolonged exposure to refugee suffering leads to diminished public engagement and policy support.^[89]^[90]

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