the water. But the influences of danger all pass into the feelings, either directly—that is, instinctively—or through the medium of the understanding. The effect in the first case would be a desire to escape from the danger, and, if that cannot be done, fright and anxiety. If this effect does not take place, then it is courage , which is a counterpoise to that instinct. Courage is, however, by no means an act of the understanding, but likewise a feeling, like fear; the latter looks to the physical preservation, courage to the moral preservation. Courage, then, is a nobler instinct. But because it is so, it will not allow itself to be used as a lifeless instrument, which produces its effects exactly according to prescribed measure. Courage is therefore no mere counterpoise to danger in order to neutralise the latter in its effects, but a peculiar power in itself.
19. EXTENT OF THE INFLUENCE OF DANGER.
But to estimate exactly the influence of danger upon the principal actors in War, we must not limit its sphere to the physical danger of the moment. It dominates over the actor, not only by threatening him, but also by threatening all entrusted to him, not only at the moment in which it is actually present, but also through the imagination at all other moments, which have a connection with the present; lastly, not only directly by itself, but also indirectly by the responsibility which makes it bear with tenfold weight on the mind of the chief actor. Who could advise, or resolve upon a great battle, without feeling his mind more or less wrought up, or perplexed by, the danger and responsibility which such a great act of decision carries in itself? We may say that action in War, in so far as it is real action, not a mere condition, is never out of the sphere of danger.
20. OTHER POWERS OF FEELING.
If we look upon these affections which are excited by hostility and danger as peculiarly belonging to War, we do not, therefore, exclude from it all