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
The discussion of complex emotional states on which we enter in the
present chapter will be subject to the same reservation as was our
previous discussion of simple sensation-feeling. It is not proposed
to attempt a definitive explanation of the _nature_ of emotion,
nor even to criticise the various emotion-theories which have been
advanced in psychological literature. For the purposes of an æsthetic
investigation we are only concerned with the external aspects, the
outward manifestations, of mental states. We need not therefore dilate
upon the controversies as to the exact relation between simple feeling
and emotion. It is enough for us that all authors—those who consider
pain and pleasure as elements _sui generis_ as well as those who count
them among sensations or emotions—agree in emphasising the prominent
hedonic element which enters into all our emotions. Starting from this
universally recognised fact, we shall try to explain the impulse to
expression, as it appears in complex emotions, by the same laws which
we deduced from an examination of simple hedonic states.
The legitimacy of such a course will scarcely be contested by any one
who admits the vital and necessary connection between emotional states
and movement-sensations. And in point of fact, this connection does
not seem to be denied by many modern psychologists. There is indeed
much controversy as to the best mode of formulating the well-known
theory due to James and Lange, and there is also much to discuss in
its general theoretic aspect. But the observation on which this theory
was based by James, viz. that it is impossible for us to imagine any
emotion which is not connected with feelings of bodily symptoms, seems
nowadays to be pretty safe against attack. Before and after James,
the fundamental importance of bodily changes has been acknowledged by
almost all authors who have specially studied the emotional states. We
need only refer to Bain, Ribot, Féré, Paulhan, and Godfernaux.[59] Even
Professor Stout, who on general grounds takes exception to the views
of James, leaves unassailed the thesis from which the latter starts in
his chapter on the emotions.[60] And it is even somewhat superfluous to
adduce all these authorities in support of a fact which must have been
noted by every one who pays any attention to his own mental states. We
never experience any intense emotion, such as fear, anger, or sorrow,
without at the same time experiencing some distinct sensation of
change in our functions of respiration and circulation, as well as in
the activities of our voluntary muscles. In the case of emotions of
slight intensity, where no changes of this character are perceptible,
we are justified in assuming that they do nevertheless occur, only on
a much smaller scale, and possibly in different organs. The clinical
and experimental researches of medical science, as well as experiments
undertaken in psychological laboratories, tend to prove that all ideas,
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