Principles of literary criticismRichards, I. A. (Ivor Armstrong)
Philosophy
Principles of literary criticism
Richards, I. A. (Ivor Armstrong)
Criticism
Imagine an energy system of prodigious complexity and extreme
delicacy of organisation which has an indefinitely large number
of stable poises. Imagine it thrown from one poise to another
with great facility, each poise being the resultant of all the
energies of the system. Suppose now that the _partial_ return
of a situation which has formerly caused it to assume a stable
poise, throws it into an unstable condition, from which it most
easily returns to equilibrium by reassuming the former poise.
Such a system would exhibit the phenomena of memory; but it would
keep no records though appearing to do so. The appearance would
be due merely to the extreme accuracy and sensitiveness of the
system and the delicacy of its balances. Its state on the later
occasion would appear to be a _revival_ of its state on
the former, but this would not be the case any more than a cumulus
cloud this evening is a revival of those which decorated the
heavens last year.
This imaginary construction can be made more concrete by imagining
a solid with a large number of facets upon any one of which it
can rest. If we try to balance it upon one of its coigns or ridges
it settles down upon the nearest facet. In the case of the neural
system we are trying to suggest each stable poise has been determined
by a definite set, or better, context of conditions. Membership
of this context is what corresponds to nearness to a facet. The
partial return of the context causes the system to behave as
though conditions were present which are not, and this is what
is essential in memory.
That this suggestion in the form here presented is unsatisfactory
and incomplete is evident. It is wildly conjectural no doubt,
but so are the Archival and Pathway Theories. Yet it does avoid
the chief deficiencies of those theories, it does suggest why
only some conjunctions of experiences become ‘associated’, those
namely which yield a stable poise. And it suggests why a thing
should be recognised as the same though appearing in countless
different aspects; every time it appears different conditions
occur which, none the less, lead to one and the same stable poise,
as the polyhedron we imagined may settle down on one and the
same facet from all the surrounding ridges.
One of the collateral advantages of such a view is that it removes
some of the temptations to revert to animism from which psychologists,
and especially literary psychologists, suffer. Dissatisfaction
with current hypotheses as to the mechanism of reflex arcs is
a main cause for the scientifically desperate belief in the soul.
And apart from this, the special emotive factors which disturb
judgment on this point are less obtrusive when this account is
substituted for the usual story of the conditioned reflex, that
sacrilegious contrivance of the mechanists.
Public-domain text, read in full here on John Shaqi.
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