A brief history of melancholy - Courtney Stephens

1,508,241 views ใƒป 2014-10-02

TED-Ed


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

ืชืจื’ื•ื: Ido Dekkers ืขืจื™ื›ื”: Tal Dekkers
00:07
Sadness is part of the human experience,
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ืขืฆื‘ื•ืช ื”ื™ื ื—ืœืง ืžื”ื”ื•ื•ื™ื” ื”ืื ื•ืฉื™ืช,
00:09
but for centuries there has been vast disagreement
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ืื‘ืœ ื‘ืžืฉืš ืžืื•ืช ืฉื ื™ื ื”ื™ื” ื—ื•ืกืจ ื”ืกื›ืžื” ืจื—ื‘
00:12
over what exactly it is and what, if anything, to do about it.
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ื‘ื ื•ื’ืข ืœืžื” ื”ื™ื ื‘ืืžืช ื•ืžื”, ืื ื‘ื›ืœืœ, ืœืขืฉื•ืช ืื™ืชื”.
00:17
In its simplest terms,
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ื‘ืžื•ื ื—ื™ื ื”ืคืฉื•ื˜ื™ื ื‘ื™ื•ืชืจ,
00:19
sadness is often thought of
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ืขืฆื‘ื•ืช ื ื—ืฉื‘ืช ืคืขืžื™ื ืจื‘ื•ืช
00:20
as the natural reaction to a difficult situation.
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ื›ืชื’ื•ื‘ื” ื˜ื‘ืขื™ืช ืœืžืฆื‘ ืงืฉื”.
00:23
You feel sad when a friend moves away or when a pet dies.
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ืืชื ืžืจื’ื™ืฉื™ื ืขืฆื•ื‘ื™ื ื›ืฉื—ื‘ืจ ืขื•ื–ื‘ ืื• ื›ืฉื—ื™ื™ืช ืžื—ืžื“ ืžืชื”.
00:27
When a friend says, "I'm sad,"
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ื›ืฉื—ื‘ืจ ืื•ืžืจ, "ืื ื™ ืขืฆื•ื‘,"
00:29
you often respond by asking, "What happened?"
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ืืชื ื”ืจื‘ื” ืคืขืžื™ื ืžื’ื™ื‘ื™ื ื‘ืฉืืœื”, "ืžื” ืงืจื”?"
00:32
But your assumption that sadness has an external cause outside the self
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ืื‘ืœ ื”ื”ื ื—ื•ืช ืฉืœื›ื ืฉืœืขืฆื‘ื•ืช ื™ืฉ ืกื™ื‘ื” ื—ื™ืฆื•ื ื™ืช ืžื—ื•ืฅ ืœืขืฆืžื™
00:37
is a relatively new idea.
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ื”ื™ื ืจืขื™ื•ืŸ ื—ื“ืฉ ื™ื—ืกื™ืช.
00:39
Ancient Greek doctors didn't view sadness that way.
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ืจื•ืคืื™ื ื™ื•ื•ื ื™ื ืขืชื™ืงื™ื ืœื ืจืื• ืืช ื”ืขืฆื‘ื•ืช ื›ืš.
00:42
They believed it was a dark fluid inside the body.
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ื”ื ื”ืืžื™ื ื• ืฉื–ื” ื”ื™ื” ื ื•ื–ืœ ืืคืœ ื‘ืชื•ืš ื”ื’ื•ืฃ.
00:46
According to their humoral system,
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ืœืคื™ ื”ืžืขืจื›ืช ื”ื”ื•ืžื•ืจืœื™ืช ืฉืœื”ื,
00:48
the human body and soul were controlled by four fluids, known as humors,
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ื”ื’ื•ืฃ ื”ืื ื•ืฉื™ ื•ื”ื ืคืฉ ื ืฉืœื˜ื• ืขืœ ื™ื“ื™ ืืจื‘ืขื” ื ื•ื–ืœื™ื, ืฉื™ื“ื•ืขื™ื ื›ื”ื•ืžื•ืจื™ื,
00:53
and their balance directly influenced a person's health and temperament.
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ื•ื”ืื™ื–ื•ืŸ ืฉืœื”ื ืžืฉืคื™ืข ื™ืฉื™ืจื•ืช ืขืœ ื‘ืจื™ืื•ืช ื”ืื“ื ื•ื”ื˜ืžืคืจืžื ื˜.
00:58
Melancholia comes from melaina kole,
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ืžืœื ื›ื•ืœื™ื” ื‘ืื” ืžืžืœื ื™ื” ืงื•ืœื™,
01:00
the word for black bile, the humor believed to cause sadness.
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ื”ืžื™ืœื” ืœืžืจื” ืฉื—ื•ืจื”, ื”ื”ื•ืžื•ืจ ืฉื”ืืžื™ื ื• ืฉื’ื•ืจื ืœืขืฆื‘ื•ืช.
01:05
By changing your diet and through medical practices,
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ืขืœ ื™ื“ื™ ืฉื™ื ื•ื™ ื”ื“ื™ืื˜ื” ืฉืœื›ื ื•ื“ืจืš ืฉื™ื˜ื•ืช ืจืคื•ืื™ื•ืช,
01:08
you could bring your humors into balance.
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ืชื•ื›ืœื• ืœื”ื‘ื™ื ืืช ื”ื”ื•ืžื•ืจื™ื ืฉืœื›ื ืœืื™ื–ื•ืŸ.
01:10
Even though we now know much more about the systems
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ืืคื™ืœื• ืฉืขื›ืฉื™ื• ืื ื—ื ื• ื™ื•ื“ืขื™ื ื”ืจื‘ื” ื™ื•ืชืจ ืขืœ ื”ืžืขืจื›ื•ืช
01:13
that govern the human body,
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ืฉืฉื•ืœื˜ื•ืช ื‘ื’ื•ืฃ ื”ืื ื•ืฉื™,
01:15
these Greek ideas about sadness
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ื”ืจืขื™ื•ื ื•ืช ื”ื™ื•ื•ื ื™ื™ื ื”ืืœื” ืขืœ ืขืฆื‘ื•ืช
01:17
resonate with current views,
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ืžื”ื“ื”ื“ื™ื ืขื ืจืขื™ื•ื ื•ืช ืขื›ืฉื™ื•ื•ื™ื™ื,
01:18
not on the sadness we all occasionally feel,
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ืœื ืขืœ ื”ืขืฆื‘ื•ืช ืฉื›ื•ืœื ื• ืœืคืขืžื™ื ืžืจื’ื™ืฉื™ื,
01:21
but on clinical depression.
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ืืœื ื“ื™ื›ืื•ืŸ ืงืœื™ื ื™.
01:23
Doctors believe that certain kinds of long-term,
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ืจื•ืคืื™ื ืžืืžื™ื ื™ื ืฉื›ืžื” ืกื•ื’ื™ื ืฉืœ ื›ืžื” ืžืฆื‘ื™ื ืœื ืžื•ืกื‘ืจื™ื
01:26
unexplained emotional states are at least partially related to brain chemistry,
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ืืจื•ื›ื™ ื˜ื•ื•ื—, ืงืฉื•ืจื™ื ืœืคื—ื•ืช ื—ืœืงื™ืช ืœื›ื™ืžื™ื” ื‘ืžื•ื—,
01:32
the balance of various chemicals present inside the brain.
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ื”ืื™ื–ื•ืŸ ืฉืœ ื›ืžื” ื›ื™ืžื™ืงืœื™ื ืฉืงื™ื™ืžื™ื ื‘ืชื•ืš ื”ืžื•ื—.
01:35
Like the Greek system,
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ื›ืžื• ื”ืžืขืจื›ื•ืช ื”ื™ื•ื•ื ื™ื•ืช,
01:37
changing the balance of these chemicals can deeply alter
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ืฉื™ื ื•ื™ ื”ืื™ื–ื•ืŸ ืฉืœ ื”ื›ื™ืžื™ืงืœื™ื ื”ืืœื” ื™ื›ื•ืœ ืœืฉื ื•ืช ืœื’ืžืจื™
01:39
how we respond to even extremely difficult circumstances.
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ืื™ืš ืฉืื ื—ื ื• ืžื’ื™ื‘ื™ื ืืคื™ืœื• ืœืžืฆื‘ื™ื ืžืื•ื“ ืงื™ืฆื•ื ื™ื™ื.
01:44
There's also a long tradition of attempting to discern
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ื™ืฉ ื’ื ืžืกื•ืจืช ืขืชื™ืงื” ืฉืœ ื ื™ืกื™ื•ืŸ ืœื”ื‘ื—ื™ืŸ
01:46
the value of sadness,
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ื‘ืขืจืš ืฉืœ ื”ืขืฆื‘ื•ืช,
01:48
and in that discussion,
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ื•ื‘ื“ื™ื•ืŸ ื”ื–ื”,
01:50
you'll find a strong argument that sadness is not only
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ืืชื ืชืžืฆืื• ื˜ื™ืขื•ืŸ ื—ื–ืง ืฉืขืฆื‘ื•ืช ื”ื™ื ืœื ืจืง
01:52
an inevitable part of life but an essential one.
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ื—ืœืง ื‘ืœืชื™ ื ืžื ืข ืฉืœ ื”ื—ื™ื™ื ืืœื ื—ื™ื•ื ื™ืช.
01:56
If you've never felt melancholy,
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ืื ืžืขื•ืœื ืœื ื”ืจื’ืฉืชื ืžืœื ื›ื•ืœื™ื”,
01:58
you've missed out on part of what it means to be human.
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ืคื™ืกืคืกืชื ื—ืœืง ืžืžื” ืฉื–ื” ืื•ืžืจ ืœื”ื™ื•ืช ืื ื•ืฉื™ื™ื.
02:01
Many thinkers contend that melancholy is necessary in gaining wisdom.
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ื”ืจื‘ื” ื”ื•ื’ื™ื ื˜ื•ืขื ื™ื ืฉืžืœื ื›ื•ืœื™ื” ื—ื™ื•ื ื™ืช ื‘ืฆื‘ื™ืจืช ืชื‘ื•ื ื”.
02:06
Robert Burton, born in 1577,
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ืจื•ื‘ืจื˜ ื‘ืจื˜ื•ืŸ, ื ื•ืœื“ ื‘ 1577,
02:08
spent his life studying the causes and experience of sadness.
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ื‘ื™ืœื” ืืช ื—ื™ื™ื• ื‘ื—ืงืจ ื”ืกื™ื‘ื•ืช ื•ื”ื—ื•ื•ื™ื•ืช ืœืขืฆื‘ื•ืช.
02:13
In his masterpiece "The Anatomy of Melancholy,"
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ื‘ื™ืฆื™ืจืช ื”ืžื•ืคืช ืฉืœื• "ื”ืื ื˜ื•ืžื™ื” ืฉืœ ืžืœื ื›ื•ืœื™ื”,"
02:16
Burton wrote, "He that increaseth wisdom increaseth sorrow."
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ื‘ืจื˜ื•ืŸ ื›ืชื‘, "ื”ื•ื ืฉืžื’ื‘ื™ืจ ืืช ื”ื—ื•ื›ืžื” ืžื’ื‘ื™ืจ ืืช ื”ืขืฆื‘ื•ืช."
02:20
The Romantic poets of the early 19th century
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ื”ืžืฉื•ืจืจื™ื ื”ืจื•ืžื ื˜ื™ื ืฉืœ ืจืืฉื™ืช ื”ืžืื” ื” 19
02:23
believed melancholy allows us to more deeply understand other profound emotions,
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ื”ืืžื™ื ื• ืฉื”ืžืœื ื›ื•ืœื™ื” ืžืืคืฉืจืช ืœื ื• ืœื”ื‘ื™ืŸ ื˜ื•ื‘ ื™ื•ืชืจ ืจื’ืฉื•ืช ืขืžื•ืงื™ื ืื—ืจื™ื,
02:29
like beauty and joy.
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ื›ืžื• ื™ื•ืคื™ ื•ืฉืžื—ื”.
02:30
To understand the sadness of the trees losing their leaves in the fall
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ื›ื“ื™ ืœื”ื‘ื™ืŸ ืืช ื”ืขืฆื‘ื•ืช ืฉืœ ื”ืขืฆื™ื ืฉืžืื‘ื“ื™ื ืืช ื”ืขืœื™ื ืฉืœื”ื ื‘ืฉืœื›ืช
02:34
is to more fully understand the cycle of life that brings flowers in the spring.
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ื–ื” ืœื”ื‘ื™ืŸ ื˜ื•ื‘ ื™ื•ืชืจ ืืช ื”ืžื—ื–ื•ืจ ืฉืœ ื”ื—ื™ื™ื ืฉืžื‘ื™ื ืคืจื—ื™ื ื‘ืื‘ื™ื‘.
02:40
But wisdom and emotional intelligence seem pretty high on the hierarchy of needs.
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ืื‘ืœ ืชื‘ื•ื ื” ื•ืื™ื ื˜ื™ืœื™ื’ื ืฆื™ื” ืจื’ืฉื™ืช ื ืจืื™ื ื“ื™ ื’ื‘ื•ื” ื‘ื”ื™ืจืจื›ื™ื” ืฉืœ ื”ืฆืจื›ื™ื.
02:45
Does sadness have value on a more basic, tangible,
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ื”ืื ืœืขืฆื‘ื•ืช ื™ืฉ ืขืจืš ื‘ืจืžื” ื™ื•ืชืจ ื‘ืกื™ืกื™ืช, ืžื•ื—ืฉื™ืช,
02:48
maybe even evolutionary level?
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ืื•ืœื™ ืืคื™ืœื• ืจืžื” ืื‘ื•ืœื•ืฆื™ื•ื ื™ืช?
02:51
Scientists think that crying and feeling withdrawn
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ืžื“ืขื ื™ื ื—ื•ืฉื‘ื™ื ืฉื‘ื›ื™ ื•ื”ืจื’ืฉื” ืฉืœ ืจื™ื—ื•ืง
02:54
is what originally helped our ancestors secure social bonds
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ื–ื” ืžื” ืฉืขื–ืจ ื‘ืžืงื•ืจ ืœืื‘ื•ืชื™ื ื• ืœื”ื‘ื˜ื™ื— ืืช ื”ืงืฉืจื™ื ื”ื—ื‘ืจืชื™ื™ื
02:58
and helped them get the support they needed.
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ื•ืขื–ืจ ืœื”ื ืœืงื‘ืœ ืืช ื”ืชืžื™ื›ื” ืฉื”ื ื”ื™ื• ืฆืจื™ื›ื™ื.
03:01
Sadness, as opposed to anger or violence, was an expression of suffering
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ืขืฆื‘ื•ืช, ื‘ื ื™ื’ื•ื“ ืœื›ืขืก ืื• ืืœื™ืžื•ืช, ื”ื™ืชื” ื”ื‘ืขื” ืฉืœ ืกื‘ืœ
03:05
that could immediately bring people closer to the suffering person,
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ืฉื™ื›ื•ืœื” ืœื”ื‘ื™ื ืื ืฉื™ื ืžื™ื™ื“ื™ืช ืงืจื•ื‘ ื™ื•ืชืจ ืœืื“ื ื”ืกื•ื‘ืœ,
03:09
and this helped both the person and the larger community to thrive.
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ื•ื–ื” ืขื–ืจ ื’ื ืœืื“ื ื•ืœืงื”ื™ืœื” ื”ื’ื“ื•ืœื” ืœืฉื’ืฉื’.
03:13
Perhaps sadness helped generate the unity we needed to survive,
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ืื•ืœื™ ืขืฆื‘ื•ืช ืขื–ืจื” ืœื™ื™ืฆืจ ืืช ื”ืื—ื“ื•ืช ืฉื”ื™ื ื• ืฆืจื™ื›ื™ื ื›ื“ื™ ืœืฉืจื•ื“,
03:16
but many have wondered whether the suffering felt by others
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ืื‘ืœ ื”ืจื‘ื” ืชื”ื• ืื ื”ืกื‘ืœ ืฉื”ื•ืจื’ืฉ ืขืœ ื™ื“ื™ ืื—ืจื™ื
03:20
is anything like the suffering we experience ourselves.
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ื“ื•ืžื” ืœืกื‘ืœ ืฉื—ื•ื•ื™ื ื• ื‘ืขืฆืžื ื•.
03:24
The poet Emily Dickinson wrote,
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ื”ืžืฉื•ืจืจืช ืืžื™ืœื™ ื“ื™ืงื ืกื•ืŸ ื›ืชื‘ื”,
03:25
"I measure every Grief I meet With narrow, probing Eyes -
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"ืื ื™ ืžื•ื“ื“ืช ื›ืœ ืฆืขืจ ืฉืื ื™ ืคื•ื’ืฉืช ืขื ืขื™ื ื™ื™ื ืฆืจื•ืช ื•ื—ื•ืงืจื•ืช -
03:30
I wonder if it weighs like MIne - Or has an Easier size."
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ืื ื™ ืชื•ื”ื” ืื ื”ื•ื ืฉื•ื•ื” ืœืฉืœื™ - ืื• ืฉื™ืฉ ืœื• ืžืฉืงืœ ืงืœ ื™ื•ืชืจ."
03:35
And in the 20th century,
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ื•ื‘ืžืื” ื” 20,
03:36
medical anthropologists, like Arthur Kleinman,
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ืื ื˜ืจื•ืคื•ืœื•ื’ื™ื ืจืคื•ืื™ื™ื, ื›ืžื• ืืจืชื•ืจ ืงืœื™ื™ื ืžืŸ,
03:39
gathered evidence from the way people talk about pain
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ืืกืคื• ืขื“ื•ื™ื•ืช ืžื”ื“ืจืš ื‘ื” ืื ืฉื™ื ื“ื™ื‘ืจื• ืขืœ ื›ืื‘
03:42
to suggest that emotions aren't universal at all,
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ื›ื“ื™ ืœื”ืฆื™ืข ืฉืจื’ืฉื•ืช ื”ืŸ ืœื ืื•ื ื™ื‘ืจืกืœื™ื•ืช ื‘ื›ืœืœ,
03:47
and that culture, particularly the way we use language,
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ื•ืฉืชืจื‘ื•ืช, ื‘ืขื™ืงืจ ื”ื“ืจืš ื‘ื” ืื ื—ื ื• ืžืฉืชืžืฉื™ื ื‘ืฉืคื”,
03:50
can influence how we feel.
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ื™ื›ื•ืœื” ืœื”ืฉืคื™ืข ืขืœ ื”ื”ืจื’ืฉื” ืฉืœื ื•.
03:52
When we talk about heartbreak,
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ื›ืฉืื ื—ื ื• ืžื“ื‘ืจื™ื ืขืœ ืฉื‘ืจื•ืŸ ืœื‘,
03:54
the feeling of brokenness becomes part of our experience,
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ื”ื”ืจื’ืฉื” ืฉืœ ืฉื‘ืจ ื”ื•ืคื›ืช ืœื—ืœืง ืžื”ื—ื•ื•ื™ื” ืฉืœื ื•,
03:58
where as in a culture that talks about a bruised heart,
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ื‘ืขื•ื“ ื‘ืชืจื‘ื•ืช ืฉืžื“ื‘ืจืช ืขืœ ืœื‘ ืคื’ื•ืข,
04:00
there actually seems to be a different subjective experience.
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ื ืจืื” ืœืžืขืฉื” ื ืกื™ื•ืŸ ืกื•ื‘ื™ื™ืงื˜ื™ื‘ื™ ืฉื•ื ื”.
04:05
Some contemporary thinkers aren't interested
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ื›ืžื” ื”ื•ื’ื™ื ืขื›ืฉื•ื•ื™ื™ื ืœื ืžืชืขื ื™ื™ื ื™ื
04:07
in sadness' subjectivity versus universality,
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ื‘ืกื•ื‘ื™ื™ืงื˜ื™ื‘ื™ื•ืช ืฉืœ ื”ืขืฆื‘ื•ืช ืžื•ืœ ื”ืื•ื ื™ื‘ืจืกืœื™ื•ืช ืฉืœื”,
04:10
and would rather use technology to eliminate suffering in all its forms.
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ื•ื™ืขื“ื™ืคื• ืœื”ืฉืชืžืฉ ื‘ื˜ื›ื ื•ืœื•ื’ื™ื” ื›ื“ื™ ืœืžื ื•ืข ืกื‘ืœ ื‘ื›ืœ ื”ืฆื•ืจื•ืช ืฉืœื•.
04:14
David Pearce has suggested that genetic engineering
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ื“ื•ื™ื“ ืคื™ืจืก ื”ืฆื™ืข ืฉื”ื ื“ืกื” ื’ื ื˜ื™ืช
04:18
and other contemporary processes
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ื•ืชื”ืœื™ื›ื™ื ืขื›ืฉื•ื™ื™ื ืื—ืจื™ื
04:20
cannot only alter the way humans experience emotional and physical pain,
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ื™ื›ื•ืœื™ื ืœื ืจืง ืœืฉื ื•ืช ืืช ื”ื“ืจืš ื‘ื” ืื ืฉื™ื ื—ื•ื•ื™ื ื›ืื‘ ืคื™ืกื™ ื•ืจื’ืฉื™,
04:24
but that world ecosystems ought to be redesigned
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ืืœื ืฉืžืขืจื›ื•ืช ื”ื—ื™ื™ื ื‘ืขื•ืœื ืฆืจื™ื›ื•ืช ืœื”ื™ื•ืช ืžืชื•ื›ื ื ื•ืช ืžื—ื“ืฉ
04:28
so that animals don't suffer in the wild.
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ื›ืš ืฉื—ื™ื•ืช ืœื ื™ืกื‘ืœื• ื‘ื˜ื‘ืข.
04:30
He calls his project "paradise engineering."
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ื”ื•ื ืงื•ืจื ืœืคืจื•ื™ื™ืงื˜ ื”ื–ื” "ื”ื ื“ืกืช ื’ืŸ ืขื“ืŸ."
04:34
But is there something sad about a world without sadness?
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ืื‘ืœ ื”ืื ื™ืฉ ืžืฉื”ื• ืขืฆื•ื‘ ื‘ืขื•ืœื ื‘ืœื™ ืขืฆื‘?
04:37
Our cavemen ancestors and favorite poets
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ืื‘ื•ืชื ื• ืื ืฉื™ ื”ืžืขืจื•ืช ื•ืžืฉื•ืจืจื™ื ืื”ื•ื‘ื™ื
04:40
might not want any part of such a paradise.
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ืื•ืœื™ ืœื ืจื•ืฆื™ื ืฉื•ื ื—ืœืง ื‘ื’ืŸ ืขื“ืŸ ื›ื–ื”.
04:42
In fact, the only things about sadness that seem universally agreed upon
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ืœืžืขืฉื”, ื”ื“ื‘ืจ ื”ื™ื—ื™ื“ ื‘ื ื•ื’ืข ืœืขืฆื‘ื•ืช ืฉื ืจืื” ืžื•ืกื›ื ืื•ื ื™ื‘ืจืกืœื™
04:48
are that it has been felt by most people throughout time,
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ื–ื” ืฉื”ื•ื ื”ื•ืจื’ืฉ ืขืœ ื™ื“ื™ ืจื•ื‘ ื”ืื ืฉื™ื ืœื›ืœ ืื•ืจืš ื”ื”ืกื˜ื•ืจื™ื”,
04:51
and that for thousands of years,
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ื•ืฉื‘ืžืฉืš ืืœืคื™ ืฉื ื™ื,
04:53
one of the best ways we have to deal with this difficult emotion
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ืื—ืช ื”ื“ืจื›ื™ื ื”ื˜ื•ื‘ื•ืช ื‘ื™ื•ืชืจ ืฉื”ื™ื• ืœื ื• ืœื”ืชืžื•ื“ื“ ืขื ื”ืจื’ืฉ ื”ืžืกื•ื‘ืš ื”ื–ื”
04:56
is to articulate it, to try to express what feels inexpressable.
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ื”ื•ื ืœืฉืชืฃ ืื•ืชื•, ืœื ืกื•ืช ืœื”ื‘ื™ืข ืžื” ืฉืžืจื’ื™ืฉ ื‘ืœืชื™ ื ื™ืชืŸ ืœื”ื‘ืขื”.
05:01
In the words of Emily Dickinson,
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ื‘ืžื™ืœื™ื ืฉืœ ืืžื™ืœื™ ื“ื™ืงื ืกื•ืŸ,
05:03
"'Hope' is the thing with feathers - That perches in the soul -
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"'ืชืงื•ื•ื”' ื”ื™ื ื”ื“ื‘ืจ ืขื ื”ื ื•ืฆื•ืช - ืฉื ื— ื‘ื ืคืฉ -
05:08
"And sings the tune without the words - And never stops - at all -"
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"ื•ืฉืจ ืืช ื”ืžื ื’ื™ื ื” ื‘ืœื™ ืžื™ืœื™ื - ื•ืœืขื•ืœื ืœื ืžืคืกื™ืง - ื‘ื›ืœืœ -"
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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