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
It seems, indeed, as if natural selection had developed in man an
almost instinctive tendency to overcome fear by simulating the
expressions proper to valour and menace. Just as animals, when
frightened, make themselves bigger and more formidable to their
enemies, whether from fear or anger we know not, so man tries to
awaken fear in the enemy confronting him at the same time, and by the
same means, as he vanquishes his own fear. This appears with especial
clearness in wars between savage races, where both sides often seem
to be as timid as they try to appear formidable and courageous. Their
threats and boastings are terrifying enough, but the real fights are
very bloodless and free from danger. Among the Cammas “the words really
seem to do more damage than the blows.”[442] The gallant game of bluff
is in primitive politics not restricted to diplomatic negotiations;
it plays an important part in the actual fighting. This remains true
even with regard to tribes which are capable of real courage, not only
in stealthy assault, but also in open battle. The Maorian military
pantomimes afford the best example of such a manifestation, which not
only stimulates the warriors to fight and regulates their movements
in the battle, but also, as a European traveller has been compelled
to admit, “strikes terror into the heart of any man.”[443] In this
case the terrible effect is further strengthened by the hideous
grimaces, rolling of the eyes, protruding of the tongue, and so on,
with which the warriors accompany their dance.[444] So important is
this distortion of the countenance considered by the Maoris, that
instruction in the art of grimacing forms a part in their military
education.[445] The most warlike of savage tribes thus does not
despise the naïve expedient which constitutes almost the sole means
of self-defence among peaceful Eskimos.[446] And so highly do the
Maoris appreciate the terrifying effects of the protruded tongue,
that they carve the grimace upon their spears, the “hanis,” evidently
in the belief that such representations will—perhaps by some magic
power—demoralise the enemy.[447]
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