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
There is no doubt that such a relief-bringing exhaustion was the
ultimate aim of all those exalted manifestations to which the poor
tarantuli and the Vitus dancers abandoned themselves. But the problem
presented by the similarity between the pathological despair which
constitutes the initial stage of such epidemic mental disorders, and
the oppressive feeling of joy whose expression has been thwarted, is
so difficult that we can hardly expect to obtain a decisive answer to
such questions as whether, for example, the mænadic exaltation is to be
considered as a melancholic or a cheerful state of mind. And in most
cases it would probably be equally impossible to ascertain whether in a
given manifestation we have to do with pleasure that seeks enhancement,
or with pain that seeks relief in exhaustion.
While every one is thus free to interpret the facts according to his
optimistic or pessimistic bias, it must nevertheless be considered as
a confusion of ideas to make the quest of unconsciousness a universal
and fundamental impulse in man. It is impossible for us to assign any
psychological importance to commonplaces on the enviable state of the
insensible and the happiness to be found in unconsciousness. It is only
when it delivers us from pain that a state of partial insensibility
and cessation of function may be perceived as relatively agreeable.
That an absolute absence of feeling could afford us any pleasure is a
psychological contradiction in terms.
This illusion of unconsciousness can, however, be easily explained by
the fact that intense emotional states are generally dominated by a
single preoccupation. A strong feeling, by reason of the limitations
of our consciousness, annihilates external sensations and ideas.
Ecstasy, that “over-conscious” state of highly concentrated activity,
rises above space and time to a state in which we feel liberated from
all forms of perception. But the highest pleasure which we may thus
experience is not, as Wagner in his pessimistic period would have it, a
sinking and drowning of ourselves in unconsciousness; it is far rather—
“endlos ewig
einbewuszt.”
Public-domain text, read in full here on John Shaqi.
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