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
We remarked in our treatment of the simple emotional elements, that
pleasure and pain can in no case be estimated by any absolute measure.
Now that we have to find some explanation of the delight in pain, which
applies to purely physical as well as to mental pain, we begin by
admitting that the relative character of feeling probably accounts for
many instances in which the pain is merely apparent. The same external
stimulus which acts on one individual with hypernormal strength, and
therefore evokes pain, may in the case of another individual who
has duller senses, produce a weaker impression, and thus call forth
a pleasurable reaction. The taste and smell anomalies of hysterical
patients afford us good examples of such abnormal pleasure. And, on
the other hand, there are plenty of instances, too familiar to be
enumerated, in which an impression which a sick person would call
painful brings pleasure to a healthy one.
Again, the power of receiving pleasurable sensations from strong
stimuli may often be increased by exercise. Mr. Marshall has applied
his psycho-physiological principles to the interpretation of
these “acquired pleasure-gettings” and though he perhaps does not
exhaustively and convincingly explain the process, he at least gives
a graphic and clear account of its most probable course. He thinks
that a hypernormal stimulus indirectly increases the blood-supply to
the stimulated organ. This organ will therefore, if the operation of
the stimulus is not too prolonged, store up some portion of unused
nutritive force during the subsequent repose. And thus, if the same
stimulus is shortly afterwards repeated, the organ will be able to
respond with greater facility and intensity, _i.e._ react under the
conditions of pleasurable reaction. In this way Marshall accounts for
the classic instances of acquired liking for olives and tobacco.[78]
It is probable that a similar influence of repeated exercise may
also operate in the department of compound emotions. Lehmann, who
explains the transformation of originally painful impressions into
pleasurable ones in a somewhat different way, viz. by his law of
“the indispensability of accustomed things” refers to this law
those instances in which persons who have had many troubles grow so
accustomed to them, that in a moment of ease they feel a kind of
loss.[79] The validity of this law will be recognised by every one who
has any opportunity of observing the vaguely and weakly unpleasant
feeling which sometimes appears when we are suddenly liberated
from some pursuing anxiety. And the indispensability of accustomed
sensations may impel persons to create new mental pains or worries to
replace the old ones.
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