Principles of literary criticismRichards, I. A. (Ivor Armstrong)
Philosophy
Principles of literary criticism
Richards, I. A. (Ivor Armstrong)
Criticism
It has been much disputed whether pleasure-unpleasure is a quality
of general bodily or organic consciousness, of some part of it
perhaps, or whether it is something quite different from any
quality of any sensation or set of sensations. As we have seen,
it is not a quality of an auditory sensation in the sense in
which its loudness, for instance, is a quality. There seem to
be similar objections to making it a quality of any sensation
of any kind. A sensation is what an impulse at a certain stage
in its development feels like, and its sensory qualities are
characters[42] of the impulse at that stage. The pleasure-unpleasure
attaching to the impulse may be no character of the impulse itself,
but of its fate, its success or failure in restoring equilibrium
to the system to which it belongs.
This is perhaps as good a guess at what pleasure and unpleasure
are as can yet be made, pleasure being successful activity of
some kind, not necessarily of a biologically useful kind, and
unpleasure being frustrated, chaotic, mal-successful activity.
We shall consider this theory again at a later stage (cf. Chapter
XXIV). The point to be made here is that pleasure and unpleasure
are complicated matters arising in the course of activities which
are directed to other ends. The old controversies as to whether
pleasure is the goal of all striving or whether avoidance of
unpleasure the starting-point, are thus escaped. As Ribot pointed
out[43] the exclusive quest of pleasure for itself, _plaisir-passion_,
is a morbid form of activity and self-destructive. Pleasure on
this view is originally an _effect_ signifying that certain
positive or negative tendencies have instinctively attained their
aim and are satisfied. Later through experience it becomes a
cause. Instructed by experience man and animal alike place themselves
in circumstances which will arouse desire and so through satisfaction
lead to pleasure. The gourmet, the libertine, the æsthete, the
mystic do so alike. But when the pleasure which is the result
of satisfying the tendency becomes the end pursued rather than
the satisfying of the tendency itself, then an ‘_inversion_
of the psychological mechanism’ comes about. In the one case
the activity is propagated from below upwards, in the other from
above downwards, from the brain to the organic functions. The
result is often an exhaustion of the tendency, ‘disillusionment’
and the _blasé_, world-wearied attitude.
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