The origins of art; a psychological & sociological inquiryHirn, Y. (Yrjö)
Philosophy
The origins of art; a psychological & sociological inquiry
Hirn, Y. (Yrjö)
Aesthetics; Art -- Philosophy; Art, Primitive
But if it is difficult to believe that the display of the males could
call forth an intellectual activity in the hen, such as that of
comparing and valuing the merits of the rival suitors,[273] one can
safely assume that it might influence her emotional and instinctive
life. And for the production of such an effect there is no need to
suppose any intervening æsthetic activity. Considering the close
parallelism which shows itself in the development of either sex, it
would only be natural if a colour and voice alteration in the cock,
which undeniably is dependent upon sexual ripening,[274] should
directly and almost physiologically imply a reaction in the sexual life
of the hen. The more energetically the male forces himself upon the
attention of the female by the conspicuous visual and acoustic signs of
his sex, the more powerful must necessarily be the emotional response
in her.
If secondary sexual characters are interpreted in this way, as signs,
by which the sex of the male is manifested in an unmistakable manner,
then one can easily understand the influence of a prolonged display.
When the cock is exhibiting his plumes or pouring forth his notes, and
thereby impressing upon his female listener the notion of his malehood,
he cannot but produce in her an enhanced inclination for pairing.[275]
She needs no æsthetic appreciation or intellectual judgment in order
to comprehend the simple text of all his utterances. With all her
instincts and impulses she can at once grasp the only thing she wants
to know—the thing that is brought home to her with a greater and
greater clearness during the continuation of his performance, namely,
that the passionate actor in front of her is a mature representative
of the other sex. And besides this, the secondary sexual characters
and activities tell another tale of no less importance. If the colours
and the tones of the cock, as Westermarck has shown, are of great
consequence for facilitating from a distance recognition between
members of the same species,[276] their biological significance is
perhaps yet greater when they, during the display before the hen,
accentuate the community of species. By virtue of her inherited
constitution, the instinctive life of the hen will be deeper stirred
the more the male is able to show that he “wears the feathers of her
tribe.”
Public-domain text, read in full here on John Shaqi.
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