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 is, however, undeniable that even joy gradually decreases if it
is allowed an unimpeded outlet. But that is often a result of bodily
fatigue, which makes thought as well as feeling impossible. Pleasure
may also increase _qua_ feeling, if its most outward manifestations
are controlled. But hereby the activity has only, as Spencer himself
remarks, been directed into new channels.[65] The motor impulses
reflect themselves inwards and accumulate when their outlet is stopped.
From bodily movements, which are its simplest and most natural
expression, joy may thus be diverted into the region of thought. When
a savage has attained so high a state of development as to be able to
control the impulse to dance and yell for joy, the first dithyramb has
been composed.
It is impossible for us to estimate the relative importance of internal
and external activity. All we can say is that a joy, the outward
expressions of which are controlled, probably gains in durability. But
on the other hand it is possible that a joy which has been allowed a
free discharge, in the very moment of expression is stronger _qua_
feeling. If the motor impulses find no outlet in any direction, the
emotional state will, as has already been pointed out, become more and
more affected with elements of pain.
When the physiological counterpart of an emotion takes the form of
an inhibition, the feeling-tone will of course gain in intensity in
the same degree as wider and wider areas of activity come under the
influence of the arrest. This law can also be observed in the course
of development of all pain-emotions. Sorrow, despair, humiliation, and
so on, are relatively mild as long as the inhibition is restricted to
the voluntary muscles. They acquire their full and proper strength
as feeling only when the involuntary activities take part in the
functional disturbance. And we can often notice in ourselves how, in
the same degree as a painful emotion increases, the inhibition cuts
its way deeper and deeper into the organism.[66] Humiliation, which of
all emotions is the most hopelessly and irredeemably painful, is in
its higher degrees always accompanied by functional changes which make
themselves felt even in our digestive organs. Literature, to which in
questions of emotional psychology we must apply for the information
which no experiment can supply, proves that it is hard to swallow. It
has a bitter taste, and is sickening even in purely physical sense.[67]
The greatest grief, on the other hand, that man has been able to
imagine manifests itself physiologically as a complete internal as well
as external paralysis, such as is suggested by the Greek myth of the
sorrowing mother turned into stone.
Public-domain text, read in full here on John Shaqi.
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