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 evident that pain as a sign of life and function may be
especially welcome when the vital sensation has for any reason become
weakened. The self-woundings of the heathen and Christian saints,
although no doubt fully justified to the sufferers themselves by
religious motives, may thus have had their innermost unconscious
motive in an endeavour to overcome that anæsthesia which is so
usual an accompaniment of hysterical disturbances.[85] It is hard
to believe that the tortures which they inflict upon themselves are
really felt as neutral or pleasurable. But we can easily understand
that such torture, although more or less painful, may afford a kind
of satisfaction by compelling the slow and dull senses to function.
Professor Lange has in his work on the emotions laid special stress
upon this point. “It is a condition of our well-being,” he says,
“that our sensorial centres should be in a certain degree of activity
called forth by the impressions which reach them through the sensorial
nerves from the outside. If from some cause or other—for instance,
from a decrease in the functional powers of these centres—there
arises an insensibility, anæsthesia, then we feel a longing to force
them to their usual activity by addressing to them an abnormally
strong appeal, or, in other words, by intensifying the external
impressions and thereby neutralising the insensibility.”[86] This
principle has, indeed, as applied by Lange to the expressions of
anger, been mercilessly ridiculed by Wundt.[87] But it seems to us
that the observation itself can scarcely be contested. Whether we
explain it as a case of the indispensability of the accustomed or as
the result of some peculiar yearning for life—a soul-desire, as Mr.
Jefferies would have called it—a deficient consciousness of function
is in most cases distinctly unpleasant. And, on the other hand, it
seems as if an increased consciousness of function were _per se_
pleasurable. It is of course difficult to prove by exact argument the
existence of a feeling which can be observed only as the innermost
concealed motive of our life. But on as strong evidence as can ever
be adduced on matters of emotional life, we may believe that in every
conscious life there operates a dim instinctive craving for fuller
and greater consciousness, or, if the expression be preferred, for
the most complete self-realisation. Happiness itself has been defined
by a philosopher so little inclined to mysticism as Mr. Brinton, as
“the increasing consciousness of self.”[88] It is therefore easy to
understand why, when this consciousness has been blunted by some
cause or other, we may even long for suffering and pain as a means
of escaping the dulness, emptiness, and darkness of insensibility.
It may seem to be a disturbance of all normal instincts that pain—an
element hostile to vital activity—can thus be preferred to a state the
unpleasantness of which is only diffuse. But we have to remember that
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