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
is perhaps as a rule too weak to be noticed by a self-controlled,
unemotional man. But if we want an example of this influence at its
strongest, we need but remember how difficult it is for an individual
to resist the contagion of collective feeling.[117] On public occasions
the common mood, whether of joy or sorrow, is often communicated even
to those who were originally possessed by the opposite feeling. So
powerful is the infection of great excitement that—according to M.
Féré—even a perfectly sober man who takes part in a drinking bout may
often be tempted to join in the antics of his drunken comrades in a
sort of second-hand intoxication, “drunkenness by induction.”[118] In
the great mental epidemics of the Middle Ages this kind of contagion
operated with more fatal results than ever before or afterwards. But
even in modern times a popular street riot may often show us something
of the same phenomenon. The great tumult in London in 1886 afforded, it
is said, a good opportunity of observing how people who had originally
maintained an indifferent attitude were gradually carried away by the
general excitement, even to the extent of joining in the outrages.[119]
In this instance the contagious effect of expressional movements
was undoubtedly facilitated by their connection with so primary an
impulse as that of rapine and destruction. But the case is the same
with all the activities which appear as the outward manifestations of
our strongest feeling-states. They all consist of instinctive actions
with which every one is well familiar from his own experience. It
is therefore natural that anger, hate, or love may be communicated
almost automatically from an individual to masses, and from masses to
individuals.
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