Physiological Researches on Life and Death

by Xavier Bichat

And that lively sensation at the pylorus under strong emotion, that ineffaceable impression which sometimes remains there, from whence succeed the schirri of which it is the seat, that sentiment of stricture, as it were, about the stomach, about the cordia in particular; under other circumstances those spasmodic vomitings, which sometimes follow the loss of a beloved object, the news of a fatal accident, or any kind of trouble, the cause of which are the passions; that sudden interruption of the digestive phenomena either in consequence of agreeable or disagreeable news, those affections of the bowels, those organic lesions of the intestines, of the spleen observed in cases of melancholy, or hypochondria, diseases which are always preceded by sad forebodings and the darker affections of the mind; do not all these indicate the very strict connexion of the digestive viscera with the state of the passions?

They do; and the secreting organs have not a less connexion with them. Sudden fear suspends the course of the bile, and is the occasion of jaundice; sudden anger is often the origin of bilious fever. In a state of sorrow or joy, sometimes even in that of admiration, our tears flow abundantly: the pancreas is not less frequently affected in hypochondria.

But the functions of the circulation, of digestion, respiration and secretion, are those which are most directly under the influence of the passions; those of exhalation, absorption and nutrition appear to be less so. Doubtless, the reason of this is, that these functions have not as the former any principal focus, or essential viscera, the state of which may be compared with that of the mind. Their phenomena disseminated throughout all the organs belong exclusively to none, and cannot be observed as well as those, the effects of which are confined within a narrow compass.

Nevertheless, the alterations, which these functions experience are not less real, do not become less apparent after a certain time; let the man, whose hours are marked by sorrow, be compared with him, who lives in peace of mind, and the difference of the process of nutrition in the one and in the other will easily be seen.

Let us, for a moment, approximate the times, when the terrible passions of sorrow, of fear and revenge seemed to brood over our country, and those, when safety and abundance continually supplied us with the gayer ones so natural to us; we may then recall what at the two periods were the outward appearances of our countrymen, and appreciate the influence of the passions on the process of nutrition. The very expressions which are continually in our mouths that such a one is dried up with envy, preyed upon by remorse, consumed and wasted away with sorrow, do not even these announce how much the nutritive functions are modified by the passions?

I know not for what reason the powers of absorption and exhalation should not be subject to the same influence, though they appear to be less so; may not dropsies, and all infiltrations of the cellular membrane, the peculiar vices of these two functions, depend on mental affection?

In the midst of these disturbances, of these partial or general revolutions which are produced by the passions in the organic phenomena, let us consider the actions of the animal life; they constantly remain unaltered, or if they do experience any derangement, such derangement has ever its source in the internal functions.

From so many considerations we may conclude that it is upon the organic and not upon the animal life that the passions exercise their influence. Accordingly, whatever serves to paint them must relate to the former. Of this assertion, our gestures which are the mute expressions both of the sentiment and understanding are a remarkable proof. Thus if we indicate any operation of the memory, imagination or judgment, the hand is carried to the head; do we wish to express either love or hatred, or joy or sorrow, it is to the seat of the heart, the stomach or intestines, that it is then directed.

The actor, who should mistake in this respect, who in speaking of sorrow should refer his gestures to his head, or carry them to his heart, for the purpose of announcing an effort of genius, would be ridiculed for a reason which we should better feel than comprehend.