[5]Yet even writers like Prof. Bain will deny, in the most gratuitous way, that sensations know anything. "It is evident that the lowest or most restricted form of sensation does not contain an element of knowledge. The mere state of mind called the sensation of scarlet is not knowledge, although a necessary preparation for it." 'Is not knowledgeaboutscarlet' is all that Professor Bain can rightfully say.
[5]Yet even writers like Prof. Bain will deny, in the most gratuitous way, that sensations know anything. "It is evident that the lowest or most restricted form of sensation does not contain an element of knowledge. The mere state of mind called the sensation of scarlet is not knowledge, although a necessary preparation for it." 'Is not knowledgeaboutscarlet' is all that Professor Bain can rightfully say.
[6]By simple ideas of sensation Locke merely means sensations.
[6]By simple ideas of sensation Locke merely means sensations.
[7]Essay c. H. U., bk. ii. ch. xxiii. § 29; ch. xxv. § 9.
[7]Essay c. H. U., bk. ii. ch. xxiii. § 29; ch. xxv. § 9.
[8]Op. cit. bk. ii. ch. ii. § 2.
[8]Op. cit. bk. ii. ch. ii. § 2.
[9]"So far is it from being true that we necessarily have as many feelings in consciousness at one time as there are inlets to the sense then played upon, that it is a fundamental law of pure sensation that each momentary state of the organism yields but one feeling, however numerous may be its parts and its exposures.... To this original Unity of consciousness it makes no difference that the tributaries to the single feeling are beyond the organism instead of within it, in an outside object with several sensible properties, instead of in the living body with its several sensitive functions.... The unity therefore is not made by 'association' of several components; but the plurality is formed bydissociationof unsuspected varieties within the unity; the substantive thing being no product of synthesis, but the residuum of differentiation." (J. Martineau: A Study of Religion (1888), p. 193-4.) Compare also F. H. Bradley, Logic, book i. chap. ii.
[9]"So far is it from being true that we necessarily have as many feelings in consciousness at one time as there are inlets to the sense then played upon, that it is a fundamental law of pure sensation that each momentary state of the organism yields but one feeling, however numerous may be its parts and its exposures.... To this original Unity of consciousness it makes no difference that the tributaries to the single feeling are beyond the organism instead of within it, in an outside object with several sensible properties, instead of in the living body with its several sensitive functions.... The unity therefore is not made by 'association' of several components; but the plurality is formed bydissociationof unsuspected varieties within the unity; the substantive thing being no product of synthesis, but the residuum of differentiation." (J. Martineau: A Study of Religion (1888), p. 193-4.) Compare also F. H. Bradley, Logic, book i. chap. ii.
[10]Such passages as the following abound in anti-sensationalist literature: "Sense is a kind of dull, confused, and stupid perception obtruded upon the soul from without, whereby it perceives the alterations and motions within its own body, and takes cognizance of individual bodies existing round about it, but does not clearly comprehend what they are nor penetrate into the nature of them, it being intended by nature, as Plotinus speaks, not so properly forknowledgeas for theuse of the body. For the soul suffering under that which it perceives by way ofpassioncannot master orConquerit, that is to say, know or understand it. For so Anaxagoras in Aristotle very fitly expresses the nature of knowledge and intellection under the notion ofConquering. Wherefore it is necessary, since the mind understands all things, that it should be free from mixture and passion, for this end, as Anaxagoras speaks, that it may be able tomaster and conquerits objects, that is to say, toknow and understandthem. In like manner Plotinus, in his book of Sense and Memory, makes tosufferand tobe conqueredall one, as also toknowand toconquer; for which reason he concludes that that which suffers doth not know.... Sense that suffers from external objects lies as it were prostrate under them, and is overcome by them.... Sense therefore is a certain kind of drowsy and somnolent perception of that passive part of the soul which is as it were asleep in the body, and acts concretely with it.... It is an energy arising from the body and a certain kind of drowsy or sleeping life of the soul blended together with it. The perceptions of which compound, or of the soul as it were half asleep and half awake, are confused, indistinct, turbid, and encumbered cogitations very different from the energies of the noetical part,... which are free, clear, serene, satisfactory, and awakened cogitations. That is to say, knowledges." Etc., etc., etc. (R. Cudworth: Treatise concerning Eternal and Immutable Morality, bk. iii. chap. ii.) Similarly Malebranche: "Théodore.—Oh, oh, Ariste! God knows pain, pleasure, warmth, and the rest. But he does not feel these things. He knows pain, since he knows what that modification of the soul is in which pain consists. He knows it because he alone causes it in us (as I shall presently prove), and he knows what he does. In a word, he knows it because his knowledge has no bounds. But he does not feel it, for if so he would be unhappy. To know pain, then, is not to feel it.Ariste.—That is true. But to feel it is to know it, is it not?Théodore.—No indeed, since God does not feel it in the least, and yet he knows it perfectly. But in order not to quibble about terms, if you will have it that to feel pain is to know it, agree at least that it is not to know it clearly, that it is not to know it by light and by evidence—in a word, that it is not to know its nature; in other words and to speak exactly, it is not to know it at all. To feel pain, for example, is to feel ourselves unhappy without well knowing either what we are or what is this modality of our being which makes us unhappy.... Impose silence on your senses, your imagination, and your passions, and you will hear the pure voice of inner truth, the clear and evident replies of our common master. Never confound the evidence which results from the comparison of ideas with the liveliness of the sensations which touch and thrill you. The livelier our sensations and feelings (sentiments) are, the more darkness do they shed. The more terrible or agreeable are our phantoms, and the more body and reality they appear to have, the more dangerous are they and fit to lead us astray." (Entretiens sur la Métaphysique, 3me Entretien,ad init.) Malebranche's Théodore prudently does not try to explain how God's 'infinite felicity' is compatible with his not feeling joy.
[10]Such passages as the following abound in anti-sensationalist literature: "Sense is a kind of dull, confused, and stupid perception obtruded upon the soul from without, whereby it perceives the alterations and motions within its own body, and takes cognizance of individual bodies existing round about it, but does not clearly comprehend what they are nor penetrate into the nature of them, it being intended by nature, as Plotinus speaks, not so properly forknowledgeas for theuse of the body. For the soul suffering under that which it perceives by way ofpassioncannot master orConquerit, that is to say, know or understand it. For so Anaxagoras in Aristotle very fitly expresses the nature of knowledge and intellection under the notion ofConquering. Wherefore it is necessary, since the mind understands all things, that it should be free from mixture and passion, for this end, as Anaxagoras speaks, that it may be able tomaster and conquerits objects, that is to say, toknow and understandthem. In like manner Plotinus, in his book of Sense and Memory, makes tosufferand tobe conqueredall one, as also toknowand toconquer; for which reason he concludes that that which suffers doth not know.... Sense that suffers from external objects lies as it were prostrate under them, and is overcome by them.... Sense therefore is a certain kind of drowsy and somnolent perception of that passive part of the soul which is as it were asleep in the body, and acts concretely with it.... It is an energy arising from the body and a certain kind of drowsy or sleeping life of the soul blended together with it. The perceptions of which compound, or of the soul as it were half asleep and half awake, are confused, indistinct, turbid, and encumbered cogitations very different from the energies of the noetical part,... which are free, clear, serene, satisfactory, and awakened cogitations. That is to say, knowledges." Etc., etc., etc. (R. Cudworth: Treatise concerning Eternal and Immutable Morality, bk. iii. chap. ii.) Similarly Malebranche: "Théodore.—Oh, oh, Ariste! God knows pain, pleasure, warmth, and the rest. But he does not feel these things. He knows pain, since he knows what that modification of the soul is in which pain consists. He knows it because he alone causes it in us (as I shall presently prove), and he knows what he does. In a word, he knows it because his knowledge has no bounds. But he does not feel it, for if so he would be unhappy. To know pain, then, is not to feel it.Ariste.—That is true. But to feel it is to know it, is it not?Théodore.—No indeed, since God does not feel it in the least, and yet he knows it perfectly. But in order not to quibble about terms, if you will have it that to feel pain is to know it, agree at least that it is not to know it clearly, that it is not to know it by light and by evidence—in a word, that it is not to know its nature; in other words and to speak exactly, it is not to know it at all. To feel pain, for example, is to feel ourselves unhappy without well knowing either what we are or what is this modality of our being which makes us unhappy.... Impose silence on your senses, your imagination, and your passions, and you will hear the pure voice of inner truth, the clear and evident replies of our common master. Never confound the evidence which results from the comparison of ideas with the liveliness of the sensations which touch and thrill you. The livelier our sensations and feelings (sentiments) are, the more darkness do they shed. The more terrible or agreeable are our phantoms, and the more body and reality they appear to have, the more dangerous are they and fit to lead us astray." (Entretiens sur la Métaphysique, 3me Entretien,ad init.) Malebranche's Théodore prudently does not try to explain how God's 'infinite felicity' is compatible with his not feeling joy.
[11]Green: Prolegomena, §§ 20, 28.
[11]Green: Prolegomena, §§ 20, 28.
[12]Introd. to Hume, §§ 146, 188. It is hard to tell just what this apostolic human being but strenuously feeble writer means by relation. Sometimes it seems to stand for system of related fact. The ubiquity of the 'psychologist's fallacy' (see Vol. I p. 196) in his pages, his incessant leaning on the confusion between the thing known, the thought that knows it, and the farther things known about that thing and about that thought by later and additional thoughts, make it impossible to clear up his meaning. Compare, however, with the utterances in the text such others as these: "The waking of Self-consciousness from the sleep of sense is an absolute new beginning, and nothing can come within the 'crystal sphere' of intelligence except as it is determined by intelligence. What sense is to sense is nothing for thought. What sense is to thought, it is as determinedbythought. There can, therefore, be no 'reality' in sensation to which the world of thought can be referred." (Edward Caird's Philosophy of Kant, 1st ed. pp. 393-4.) "When," says Green again, "feeling a pain or pleasure of heat, I perceive it to be connected with the action of approaching the fire, am I not perceiving a relationof which one constituent, at any rate, is a simple sensation? The true answer is, No." "Perception, in its simplest form...—perception as the first sight or touch of an object in which nothing but what is seen or touched is recognized—neither is nor contains sensation" (Contemp. Rev., xxxi. pp. 746, 750.) "Mere sensation is in truth a phrase that represents no reality." "Mere feeling, then, as a matter unformed by thought, has no place in the world of facts, in the cosmos of possible experience." (Prolegomena to Ethics, §§ 46, 50.)—I have expressed myself a little more fully on this subject in Mind, x. 27 ff.
[12]Introd. to Hume, §§ 146, 188. It is hard to tell just what this apostolic human being but strenuously feeble writer means by relation. Sometimes it seems to stand for system of related fact. The ubiquity of the 'psychologist's fallacy' (see Vol. I p. 196) in his pages, his incessant leaning on the confusion between the thing known, the thought that knows it, and the farther things known about that thing and about that thought by later and additional thoughts, make it impossible to clear up his meaning. Compare, however, with the utterances in the text such others as these: "The waking of Self-consciousness from the sleep of sense is an absolute new beginning, and nothing can come within the 'crystal sphere' of intelligence except as it is determined by intelligence. What sense is to sense is nothing for thought. What sense is to thought, it is as determinedbythought. There can, therefore, be no 'reality' in sensation to which the world of thought can be referred." (Edward Caird's Philosophy of Kant, 1st ed. pp. 393-4.) "When," says Green again, "feeling a pain or pleasure of heat, I perceive it to be connected with the action of approaching the fire, am I not perceiving a relationof which one constituent, at any rate, is a simple sensation? The true answer is, No." "Perception, in its simplest form...—perception as the first sight or touch of an object in which nothing but what is seen or touched is recognized—neither is nor contains sensation" (Contemp. Rev., xxxi. pp. 746, 750.) "Mere sensation is in truth a phrase that represents no reality." "Mere feeling, then, as a matter unformed by thought, has no place in the world of facts, in the cosmos of possible experience." (Prolegomena to Ethics, §§ 46, 50.)—I have expressed myself a little more fully on this subject in Mind, x. 27 ff.
[13]Stumpf: Tonpsychologie, i. pp. 7, 8. Hobbes's phrase,sentire semper idem et non sentire ad idem recidunt, is generally treated as the original statement of the relativity doctrine. J. S. Mill (Examn. of Hamilton, p. 6) and Bain (Senses and Intellect, p. 321; Emotions and Will, pp. 550, 570-2; Logic, i. p. 2; Body and Mind, p. 81) are subscribers to this doctrine. Cf. also J. Mill's Analysis, J. S. Mill's edition, II. 11, 12.
[13]Stumpf: Tonpsychologie, i. pp. 7, 8. Hobbes's phrase,sentire semper idem et non sentire ad idem recidunt, is generally treated as the original statement of the relativity doctrine. J. S. Mill (Examn. of Hamilton, p. 6) and Bain (Senses and Intellect, p. 321; Emotions and Will, pp. 550, 570-2; Logic, i. p. 2; Body and Mind, p. 81) are subscribers to this doctrine. Cf. also J. Mill's Analysis, J. S. Mill's edition, II. 11, 12.
[14]We can steadily hear a note for half an hour. The differences between the senses are marked. Smell and taste seem soon to get fatigued.
[14]We can steadily hear a note for half an hour. The differences between the senses are marked. Smell and taste seem soon to get fatigued.
[15]In the popular mind it is mixed up with that entirely different doctrine of the 'Relativity of Knowledge' preached by Hamilton and Spencer. This doctrine says that our knowledge is relativeto us, and is not of the object as the latter is in itself. It has nothing to do with the question which we have been discussing, of whether our objects of knowledge contain absolute terms or consist altogether of relations.
[15]In the popular mind it is mixed up with that entirely different doctrine of the 'Relativity of Knowledge' preached by Hamilton and Spencer. This doctrine says that our knowledge is relativeto us, and is not of the object as the latter is in itself. It has nothing to do with the question which we have been discussing, of whether our objects of knowledge contain absolute terms or consist altogether of relations.
[16]What follows in brackets, as far as p. 27, is from the pen of my friend and pupil Mr. E. B. Delabarre.
[16]What follows in brackets, as far as p. 27, is from the pen of my friend and pupil Mr. E. B. Delabarre.
[17]These phenomena have close analogues in the phenomena of contrast presented by the temperature-sense (see W. Preyer in Archiv f. d. ges. Phys., Bd. xxv. p. 79 ff.). Successive contrast here is shown in the fact that a warm sensation appears warmer if a cold one has just previously been experienced; and a cold one colder, if the preceding one was warm. If a finger which has been plunged in hot water, and another which has been in cold water, be both immersed in lukewarm water, the same water appears cold to the former finger and warm to the latter. In simultaneous contrast, a sensation of warmth on any part of the skin tends to induce the sensation of cold in its immediate neighborhood; andvice versâ. This may be seen if we press with the palm on two metal surfaces of about an inch and a half square and three-fourths inch apart; the skin between them appears distinctly warmer. So also a small object of exactly the temperature of the palm appears warm if a cold object, and cold if a warm object, touch the skin near it.
[17]These phenomena have close analogues in the phenomena of contrast presented by the temperature-sense (see W. Preyer in Archiv f. d. ges. Phys., Bd. xxv. p. 79 ff.). Successive contrast here is shown in the fact that a warm sensation appears warmer if a cold one has just previously been experienced; and a cold one colder, if the preceding one was warm. If a finger which has been plunged in hot water, and another which has been in cold water, be both immersed in lukewarm water, the same water appears cold to the former finger and warm to the latter. In simultaneous contrast, a sensation of warmth on any part of the skin tends to induce the sensation of cold in its immediate neighborhood; andvice versâ. This may be seen if we press with the palm on two metal surfaces of about an inch and a half square and three-fourths inch apart; the skin between them appears distinctly warmer. So also a small object of exactly the temperature of the palm appears warm if a cold object, and cold if a warm object, touch the skin near it.
[18]Helmholtz, Physiolog. Optik, p. 392.
[18]Helmholtz, Physiolog. Optik, p. 392.
[19]Loc. cit.p. 407.
[19]Loc. cit.p. 407.
[20]Loc. cit.p. 408.
[20]Loc. cit.p. 408.
[21]Loc. cit.p. 406.
[21]Loc. cit.p. 406.
[22]E. Hering, in Hermann's Handbuch d. Physiologie, iii. 1, p. 565.
[22]E. Hering, in Hermann's Handbuch d. Physiologie, iii. 1, p. 565.
[23]Hering: 'Zur Lehre vom Lichtsinne.'—Of these experiments the following (found on p. 24 ff.) may be cited as a typical one: "From dark gray paper cut two strips 3-4 cm. long and 1/2 cm. wide, and lay them on a background of which one half is white and the other half deep black, in such a way that one strip lies on each side of the border-line and parallel to it, and at least 1 cm. distant from it. Fixate 1/2 to 1 minute a point on the border-line between the strips. One strip appears much brighter than the other. Close and cover the eyes, and the negative after-image appears.... The difference in brightness of the strips in the after-image is in general much greater than it appeared in direct vision.... This difference in brightness of the strips by no means always increases and decreases with the difference in brightness of the two halves of the background.... A phase occurs in which the difference in brightness of the two halves of the background entirely disappears, and yet both after-images of the strips are still very clear, one of them brighter and one darker than the background, which is equally bright on both halves. Here can no longer be any question of contrast-effect, because theconditio sine quâ nonof contrast, namely, the differing brightness of the ground, is no longer present. This proves that the different brightness of the after-images of the strips must have its ground in a different state of excitation of the corresponding portions of the retina, and from this follows further that both these portions of the retina were differently stimulated during the original observation; for the different after-effect demands here a different fore-effect.... In the original arrangement, the objectively similar strips appeared of different brightness, because both corresponding portions of the retina were truly differently excited."
[23]Hering: 'Zur Lehre vom Lichtsinne.'—Of these experiments the following (found on p. 24 ff.) may be cited as a typical one: "From dark gray paper cut two strips 3-4 cm. long and 1/2 cm. wide, and lay them on a background of which one half is white and the other half deep black, in such a way that one strip lies on each side of the border-line and parallel to it, and at least 1 cm. distant from it. Fixate 1/2 to 1 minute a point on the border-line between the strips. One strip appears much brighter than the other. Close and cover the eyes, and the negative after-image appears.... The difference in brightness of the strips in the after-image is in general much greater than it appeared in direct vision.... This difference in brightness of the strips by no means always increases and decreases with the difference in brightness of the two halves of the background.... A phase occurs in which the difference in brightness of the two halves of the background entirely disappears, and yet both after-images of the strips are still very clear, one of them brighter and one darker than the background, which is equally bright on both halves. Here can no longer be any question of contrast-effect, because theconditio sine quâ nonof contrast, namely, the differing brightness of the ground, is no longer present. This proves that the different brightness of the after-images of the strips must have its ground in a different state of excitation of the corresponding portions of the retina, and from this follows further that both these portions of the retina were differently stimulated during the original observation; for the different after-effect demands here a different fore-effect.... In the original arrangement, the objectively similar strips appeared of different brightness, because both corresponding portions of the retina were truly differently excited."
[24]Helmholtz, Physiolog. Optik, p. 407.
[24]Helmholtz, Physiolog. Optik, p. 407.
[25]In Archiv f. d. ges. Physiol., Bd. xli. §. 1 ff.
[25]In Archiv f. d. ges. Physiol., Bd. xli. §. 1 ff.
[26]Helmholtz,loc. cit.p. 412.
[26]Helmholtz,loc. cit.p. 412.
[27]See Hering: Archiv f. d. ges. Physiol., Bd. xli. S. 358 ff.
[27]See Hering: Archiv f. d. ges. Physiol., Bd. xli. S. 358 ff.
[28]Hering: Archiv f. d. ges. Physiol., Bd. xl. S. 172 ff.; Delabarre: American Journal of Psychology, ii. 636.
[28]Hering: Archiv f. d. ges. Physiol., Bd. xl. S. 172 ff.; Delabarre: American Journal of Psychology, ii. 636.
[29]Hering: Archiv f. d. ges. Physiol., Bd. xli. S. 91 ff.
[29]Hering: Archiv f. d. ges. Physiol., Bd. xli. S. 91 ff.
[30]Die Gesichtsempfindungen u. ihre Analyse, p. 128.
[30]Die Gesichtsempfindungen u. ihre Analyse, p. 128.
[31]Mr. Delabarre's contribution ends here.
[31]Mr. Delabarre's contribution ends here.
[32]Physiol. Psych., i. 351, 458-60. The full inanity of the law of relativity is best to be seen in Wundt's treatment, where the great 'allgemeiner Gesetz der Beziehung,' invoked to account for Weber's law as well as for the phenomena of contrast and many other matters, can only be defined as a tendencyto feel all things in relation to each other! Bless its little soul! But why does it change the things so, when it thus feels them in relation?
[32]Physiol. Psych., i. 351, 458-60. The full inanity of the law of relativity is best to be seen in Wundt's treatment, where the great 'allgemeiner Gesetz der Beziehung,' invoked to account for Weber's law as well as for the phenomena of contrast and many other matters, can only be defined as a tendencyto feel all things in relation to each other! Bless its little soul! But why does it change the things so, when it thus feels them in relation?
[33]Ladd: Physiol. Psych., p. 348.
[33]Ladd: Physiol. Psych., p. 348.
[34]Mind, x. 567.
[34]Mind, x. 567.
[35]Zwangemässige Lichtempfindung durch Schall (Leipzig, 1881).
[35]Zwangemässige Lichtempfindung durch Schall (Leipzig, 1881).
[36]Pflüger's Archiv, xlii. 154.
[36]Pflüger's Archiv, xlii. 154.
[37]Physiological Psychology, 385, 387. See also such passages as that in Bain; The Senses and the Intellect, pp. 364-6.
[37]Physiological Psychology, 385, 387. See also such passages as that in Bain; The Senses and the Intellect, pp. 364-6.
[38]"Especially must we avoid all attempts, whether avowed or concealed, to account for thespatialqualities of the presentations of sense by merely describing the qualities of the simple sensations and the modes of their combination. It is position and extension in space which constitutes the very peculiarity of the objects asno longermere sensations or affections of the mind. As sensations, they are neitheroutof ourselves nor possessed of the qualities indicated by the word spread-out." (Ladd,op. cit.p. 391.)
[38]"Especially must we avoid all attempts, whether avowed or concealed, to account for thespatialqualities of the presentations of sense by merely describing the qualities of the simple sensations and the modes of their combination. It is position and extension in space which constitutes the very peculiarity of the objects asno longermere sensations or affections of the mind. As sensations, they are neitheroutof ourselves nor possessed of the qualities indicated by the word spread-out." (Ladd,op. cit.p. 391.)
[39]A. Riehl: Der Philosophischer Kriticismus, Bd. ii. Theil ii. p. 64.
[39]A. Riehl: Der Philosophischer Kriticismus, Bd. ii. Theil ii. p. 64.
[40]On Intelligence, part ii. bk. ii. chap. ii. §§ vii, viii. Compare such statements as these: "The consequence is that when a sensation has for its usual condition the presence of an object more or less distant from our bodies, and experience has once made us acquainted with this distance, we shall situate our sensation at this distance.—This, in fact, is the case with sensations of hearing and sight. The peripheral extremity of the acoustic nerve is in the deep-seated chamber of the ear. That of the optic nerve is in the most inner recess of the eye. But still, in our present state, we never situate our sensations of sound or color in these places, but without us, and often at a considerable distance from us.... All our sensations of color are thus projected out of our body, and clothe more or less distant objects, furniture, walls, houses, trees, the sky, and the rest. This is why, when we afterwards reflect on them, we cease to attribute them to ourselves; they are alienated and detached from us, so far as to appear different from us. Projected from the nervous surface in which we localize the majority of the others, the tie which connected them to the others and to ourselves is undone.... Thus, all our sensations are wrongly situated, and the red color is no more extended on the arm-chair than the sensation of tingling is situated at my fingers' ends. They are all situated in the sensory centres of the encephalon; all appear situated elsewhere, and a common law allots to each of them its apparent situation." (vol. ii. pp. 47-53.)—Similarly Schopenhauer: "I will now show the same by the sense of sight. The immediatedatumis here limited to the sensation of the retina which, it is true, admits of considerable diversity, but at bottom reverts to the impression of light and dark with their shades, and that of colors. This sensation is through and through subjective, that is, inside of the organism and under the skin." (Schopenhauer: Satz vom Grunde, p. 58.) This philosopher then enumeratesseriatimwhat the Intellect does to make the originally subjective sensation objective: 1) it turns it bottom side up; 2) it reduces its doubleness to singleness; 3) it changes its flatness to solidity; and 4) it projects it to a distance from the eye. Again: "Sensationsare what we call the impressions on our senses, in so far as they come to our consciousness as states of our own body, especially of our nervous apparatus; we call themperceptionswhen we form out of them the representation of outer objects." (Helmholtz: Tonempfindungen, 1870, p. 101.)—Once more: "Sensation is always accomplished in the psychic centres, but it manifests itself at the excited part of the periphery. In other words, one is conscious of the phenomenon in the nervous centres,... but one perceives it in the peripheric organs. This phenomenon depends on the experience of the sensations themselves, in which there is areflectionof the subjective phenomenon and a tendency on the part of perception to return as it were to the external cause which has roused the mental state because the latter is connected with the former." (Sergi: Psychologie Physiologique (Paris, 1888), p. 189.)—The clearest and best passage I know is in Liebmann: Der Objective Anblick (1869), pp. 67-72, but it is unfortunately too long to quote.
[40]On Intelligence, part ii. bk. ii. chap. ii. §§ vii, viii. Compare such statements as these: "The consequence is that when a sensation has for its usual condition the presence of an object more or less distant from our bodies, and experience has once made us acquainted with this distance, we shall situate our sensation at this distance.—This, in fact, is the case with sensations of hearing and sight. The peripheral extremity of the acoustic nerve is in the deep-seated chamber of the ear. That of the optic nerve is in the most inner recess of the eye. But still, in our present state, we never situate our sensations of sound or color in these places, but without us, and often at a considerable distance from us.... All our sensations of color are thus projected out of our body, and clothe more or less distant objects, furniture, walls, houses, trees, the sky, and the rest. This is why, when we afterwards reflect on them, we cease to attribute them to ourselves; they are alienated and detached from us, so far as to appear different from us. Projected from the nervous surface in which we localize the majority of the others, the tie which connected them to the others and to ourselves is undone.... Thus, all our sensations are wrongly situated, and the red color is no more extended on the arm-chair than the sensation of tingling is situated at my fingers' ends. They are all situated in the sensory centres of the encephalon; all appear situated elsewhere, and a common law allots to each of them its apparent situation." (vol. ii. pp. 47-53.)—Similarly Schopenhauer: "I will now show the same by the sense of sight. The immediatedatumis here limited to the sensation of the retina which, it is true, admits of considerable diversity, but at bottom reverts to the impression of light and dark with their shades, and that of colors. This sensation is through and through subjective, that is, inside of the organism and under the skin." (Schopenhauer: Satz vom Grunde, p. 58.) This philosopher then enumeratesseriatimwhat the Intellect does to make the originally subjective sensation objective: 1) it turns it bottom side up; 2) it reduces its doubleness to singleness; 3) it changes its flatness to solidity; and 4) it projects it to a distance from the eye. Again: "Sensationsare what we call the impressions on our senses, in so far as they come to our consciousness as states of our own body, especially of our nervous apparatus; we call themperceptionswhen we form out of them the representation of outer objects." (Helmholtz: Tonempfindungen, 1870, p. 101.)—Once more: "Sensation is always accomplished in the psychic centres, but it manifests itself at the excited part of the periphery. In other words, one is conscious of the phenomenon in the nervous centres,... but one perceives it in the peripheric organs. This phenomenon depends on the experience of the sensations themselves, in which there is areflectionof the subjective phenomenon and a tendency on the part of perception to return as it were to the external cause which has roused the mental state because the latter is connected with the former." (Sergi: Psychologie Physiologique (Paris, 1888), p. 189.)—The clearest and best passage I know is in Liebmann: Der Objective Anblick (1869), pp. 67-72, but it is unfortunately too long to quote.
[41]This is proved by Weber's device of causing the head to be firmly pressed against a support by another person, whereupon the direction of traction ceases to be perceived.
[41]This is proved by Weber's device of causing the head to be firmly pressed against a support by another person, whereupon the direction of traction ceases to be perceived.
[42]Lotze: Med. Psych., 428-433; Lipps: Grundtatsachen des Seelenlebens, 582.
[42]Lotze: Med. Psych., 428-433; Lipps: Grundtatsachen des Seelenlebens, 582.
[43]Injuries to Nerves (Philadelphia, 1872), p. 350 ff.
[43]Injuries to Nerves (Philadelphia, 1872), p. 350 ff.
[44]In reality it probably means only a restless movement of desire, which he might make even after he had become aware of his impotence to touch the object.
[44]In reality it probably means only a restless movement of desire, which he might make even after he had become aware of his impotence to touch the object.
[45]Revue Philosophique, vii. p. 1 ff., an admirable critical article, in the course of which M. Janet gives a bibliography of the cases in question. See also Dunan:ibid.xxv. 165-7. They are also discussed and similarly interpreted by T. K. Abbot: Sight and Touch (1864), chapter x.
[45]Revue Philosophique, vii. p. 1 ff., an admirable critical article, in the course of which M. Janet gives a bibliography of the cases in question. See also Dunan:ibid.xxv. 165-7. They are also discussed and similarly interpreted by T. K. Abbot: Sight and Touch (1864), chapter x.
[46]The intermediary and shortened locations of the lost hand and foot in the amputation cases also show this. It is easy to see why the phantom foot might continue to follow the position of the artificial one. But I confess that I cannot explain its half way-positions.
[46]The intermediary and shortened locations of the lost hand and foot in the amputation cases also show this. It is easy to see why the phantom foot might continue to follow the position of the artificial one. But I confess that I cannot explain its half way-positions.
[47]It is from this confused assumption that the time-honored riddle comes, of how, with an upside-down picture on the retina, we can see things right-side up. Our consciousness isnaïvelysupposed to inhabit the picture and to feel the picture's position as related to other objects of space. But the truth is that the picture is non-existent either as a habitat or as anything else, for immediate consciousness. Our notion of it is an enormously late conception. The outer object is given immediately with all those qualities which later are named and determined in relation to other sensations. The 'bottom' of this object is where we see what by touch we afterwards know as ourfeet, the 'top' is the place in which we see what we know as other people's heads, etc., etc. Berkeley long ago made this matter perfectly clear (see his Essay towards a new Theory of Vision, §§ 93-98, 113-118).
[47]It is from this confused assumption that the time-honored riddle comes, of how, with an upside-down picture on the retina, we can see things right-side up. Our consciousness isnaïvelysupposed to inhabit the picture and to feel the picture's position as related to other objects of space. But the truth is that the picture is non-existent either as a habitat or as anything else, for immediate consciousness. Our notion of it is an enormously late conception. The outer object is given immediately with all those qualities which later are named and determined in relation to other sensations. The 'bottom' of this object is where we see what by touch we afterwards know as ourfeet, the 'top' is the place in which we see what we know as other people's heads, etc., etc. Berkeley long ago made this matter perfectly clear (see his Essay towards a new Theory of Vision, §§ 93-98, 113-118).
[48]For full justification the reader must see the next chapter. He may object, against the summary account given now, that in a babe's immediate field of vision the various things which appear are locatedrelatively to each otherfrom the outset. I admit thatif discriminated, they would appear so located. But they are parts of the content of one sensation, not sensations separately experienced, such as the text is concerned with. The fully developed 'world,' in which all our sensations ultimately find location, is nothing but an imaginary object framed after the pattern of the field of vision, by the addition and continuation of one sensation upon another in an orderly and systematic way. In corroboration of my text I must refer to pp. 57-60 of Riehl's book quoted above onpage 32, and to Uphues: Wahrnehmung und Empfindung (1888), especially theEinleitungand pp. 51-61.
[48]For full justification the reader must see the next chapter. He may object, against the summary account given now, that in a babe's immediate field of vision the various things which appear are locatedrelatively to each otherfrom the outset. I admit thatif discriminated, they would appear so located. But they are parts of the content of one sensation, not sensations separately experienced, such as the text is concerned with. The fully developed 'world,' in which all our sensations ultimately find location, is nothing but an imaginary object framed after the pattern of the field of vision, by the addition and continuation of one sensation upon another in an orderly and systematic way. In corroboration of my text I must refer to pp. 57-60 of Riehl's book quoted above onpage 32, and to Uphues: Wahrnehmung und Empfindung (1888), especially theEinleitungand pp. 51-61.
Sensations, once experienced, modify the nervous organism, so that copies of them arise again in the mind after the original outward stimulus is gone.No mental copy, however, can arise in the mind, of any kind of sensation which has never been directly excited from without.
The blind may dream of sights, the deaf of sounds, for years after they have lost their vision or hearing;[49]but the manborndeaf can never be made to imagine what sound is like, nor can the manbornblind ever have a mental vision. In Locke's words, already quoted, "the mind can frame unto itself no one new simple idea." The originals of them all must have been given from without. Fantasy, or Imagination, are the names given to the faculty of reproducing copies of originals once felt. The imagination is called 'reproductive' when the copies are literal; 'productive' when elements from different originals are recombined so as to make new wholes.
After-imagesbelong to sensation rather than to imagination; so that the most immediate phenomena of imagination would seem to be those tardier images (due to what the Germans callSinnesgedächtniss) which were spoken of in Vol. I, p. 617,—coercive hauntings of the mind by echoes of unusual experiences for hours after the latter have taken place. The phenomena ordinarily ascribed to imagination, however, are those mental pictures of possible sensibleexperiences, to which the ordinary processes of associative thought give rise.
When represented with surroundings concrete enough to constitute adate, these pictures, when they revive, formrecollections. We have already studied the machinery of recollection in Chapter XVI. When the mental pictures are of data freely combined, and reproducing no past combination exactly, we have acts of imagination properly so called.
For the ordinary 'analytic' psychology, each sensibly discernible element of the object imagined is represented by its own separate idea, and the total object is imagined by a 'cluster' or 'gang' of ideas. We have seen abundant reason to reject this view (see Vol. I, p. 276 ff.). An imagined object, however complex, is at any one moment thought in one idea, which is aware of all its qualities together. If I slip into the ordinary way of talking, and speak of various ideas 'combining,' the reader will understand that this is only for popularity and convenience, and he will not construe it into a concession to the atomistic theory in psychology.
Hume was the hero of the atomistic theory. Not only were ideas copies of original impressions made on the sense-organs, but they were, according to him, completely adequate copies, and were all so separate from each other as to possess no manner of connection. Hume proves ideas in the imagination to be completely adequate copies, not by appeal to observation, but bya priorireasoning, as follows:
"The mind cannot form any notion of quantity or quality, without forming a precise notion of the degrees of each," for "'tis confessed that no object can appear to the senses; or in other words, that no impression[50]can become present to the mind, without being determined in its degrees both of quantity and quality. The confusion in which impressions are sometimes involved proceeds only from their faintness and unsteadiness, not from any capacity in the mind to receive any impression, which in its real existence has no particular degree nor proportion. That is a contradiction in terms; and even implies the flattestof all contradictions,viz., that 'tis possible for the same thing both to be and not to be. Now since all ideas are derived from impressions, and are nothing but copies and representations of them, whatever is true of the one must be acknowledged concerning the other. Impressions and ideas differ only in their strength and vivacity. The foregoing conclusion is not founded on any particular degree of vivacity. It cannot therefore be affected by any variation in that particular. An idea is a weaker impression; and as a strong impression must necessarily have a determinate quantity and quality, the case must be the same with its copy or representative."[51]
"The mind cannot form any notion of quantity or quality, without forming a precise notion of the degrees of each," for "'tis confessed that no object can appear to the senses; or in other words, that no impression[50]can become present to the mind, without being determined in its degrees both of quantity and quality. The confusion in which impressions are sometimes involved proceeds only from their faintness and unsteadiness, not from any capacity in the mind to receive any impression, which in its real existence has no particular degree nor proportion. That is a contradiction in terms; and even implies the flattestof all contradictions,viz., that 'tis possible for the same thing both to be and not to be. Now since all ideas are derived from impressions, and are nothing but copies and representations of them, whatever is true of the one must be acknowledged concerning the other. Impressions and ideas differ only in their strength and vivacity. The foregoing conclusion is not founded on any particular degree of vivacity. It cannot therefore be affected by any variation in that particular. An idea is a weaker impression; and as a strong impression must necessarily have a determinate quantity and quality, the case must be the same with its copy or representative."[51]
The slightest introspective glance will show to anyone the falsity of this opinion. Hume surely had images of his own works without seeing distinctly every word and letter upon the pages which floated before his mind's eye. His dictum is therefore an exquisite example of the way in which a man will be blinded bya prioritheories to the most flagrant facts. It is a rather remarkable thing, too, that the psychologists of Hume's own empiricist school have, as a rule, been more guilty of this blindness than their opponents. The fundamentalfactsof consciousness have been, on the whole, more accurately reported by the spiritualistic writers. None of Hume's pupils, so far as I know, until Taine and Huxley, ever took the pains to contradict the opinion of their master. Prof. Huxley in his brilliant little work on Hume set the matter straight in the following words:
"When complex impressions or complex ideas are reproduced as memories, it is probable that the copies never give all the details of the originals with perfect accuracy, and it is certain that they rarely do so. No one possesses a memory so good, that if he has only once observed a natural object, a second inspection does not show him something that he has forgotten. Almost all, if not all, our memories are therefore sketches, rather than portraits, of the originals—the salient features are obvious, while the subordinate characters are obscure or unrepresented."Now, when several complex impressions which are more or less different from one another—let us say that out of ten impressions in each, six are the same in all, and four are different from all the rest—are successively presented to the mind, it is easy to see what must be the nature of the result. The repetition of the six similar impressions will strengthen the six corresponding elements of the complex idea,which will therefore acquire greater vividness; while the four differing impressions of each will not only acquire no greater strength than they had at first, but, in accordance with the law of association, they will all tend to appear at once, and will thus neutralize one another."This mental operation may be rendered comprehensible by considering what takes place in the formation of compound photographs—when the images of the faces of six sitters, for example, are each received on the same photographic plate, for a sixth of the time requisite to take one portrait. The final result is that all those points in which the six faces agree are brought out strongly, while all those in which they differ are left vague; and thus what may be termed agenericportrait of the six, in contradistinction to aspecificportrait of any one, is produced."Thus our ideas of single complex impressions are incomplete in one way, and those of numerous, more or less similar, complex impressions are incomplete in another way; that is to say, they aregeneric, notspecific. And hence it follows that our ideas of the impressions in question are not, in the strict sense of the word, copies of those impressions; while, at the same time, they may exist in the mind independently of language."The generic ideas which are formed from several similar, but not identical, complex experiences are what are calledabstractorgeneralideas; and Berkeley endeavored to prove that all general ideas are nothing but particular ideas annexed to a certain term, which gives them a more extensive signification, and makes them recall, upon occasion, other individuals which are similar to them. Hume says that he regards this as 'one of the greatest and the most valuable discoveries that has been made of late years in the republic of letters,' and endeavors to confirm it in such a manner that it shall be 'put beyond all doubt and controversy.'"I may venture to express a doubt whether he has succeeded in his object; but the subject is an abstruse one; and I must content myself with the remark, that though Berkeley's view appears to be largely applicable to such general ideas as are formed after language has been acquired, and to all the more abstract sort of conceptions, yet that general ideas of sensible objects may nevertheless be produced in the way indicated, and may exist independently of language. In dreams, one sees houses, trees, and other objects, which are perfectly recognizable as such, but which remind one of the actual objects as seen 'out of the corner of the eye,' or of the pictures thrown by a badly-focussed magic lantern. A man addresses us who is like a figure seen in twilight; or we travel through countries where every feature of the scenery is vague; the outlines of the hills are ill-marked, and the rivers have no defined banks. They are, in short, generic ideas of many past impressions of men, hills, and rivers. An anatomist who occupies himself intently with the examination of several specimens of some new kind of animal, in course of time acquires so vivid a conception of its form and structurethat the idea may take visible shape and become a sort of waking dream. But the figure which thus presents itself is generic, not specific. It is no copy of any one specimen, but, more or less, a mean of the series; and there seems no reason to doubt that the minds of children before they learn to speak, and of deaf-mutes, are peopled with similarly generated generic ideas of sensible objects."[52]
"When complex impressions or complex ideas are reproduced as memories, it is probable that the copies never give all the details of the originals with perfect accuracy, and it is certain that they rarely do so. No one possesses a memory so good, that if he has only once observed a natural object, a second inspection does not show him something that he has forgotten. Almost all, if not all, our memories are therefore sketches, rather than portraits, of the originals—the salient features are obvious, while the subordinate characters are obscure or unrepresented.
"Now, when several complex impressions which are more or less different from one another—let us say that out of ten impressions in each, six are the same in all, and four are different from all the rest—are successively presented to the mind, it is easy to see what must be the nature of the result. The repetition of the six similar impressions will strengthen the six corresponding elements of the complex idea,which will therefore acquire greater vividness; while the four differing impressions of each will not only acquire no greater strength than they had at first, but, in accordance with the law of association, they will all tend to appear at once, and will thus neutralize one another.
"This mental operation may be rendered comprehensible by considering what takes place in the formation of compound photographs—when the images of the faces of six sitters, for example, are each received on the same photographic plate, for a sixth of the time requisite to take one portrait. The final result is that all those points in which the six faces agree are brought out strongly, while all those in which they differ are left vague; and thus what may be termed agenericportrait of the six, in contradistinction to aspecificportrait of any one, is produced.
"Thus our ideas of single complex impressions are incomplete in one way, and those of numerous, more or less similar, complex impressions are incomplete in another way; that is to say, they aregeneric, notspecific. And hence it follows that our ideas of the impressions in question are not, in the strict sense of the word, copies of those impressions; while, at the same time, they may exist in the mind independently of language.
"The generic ideas which are formed from several similar, but not identical, complex experiences are what are calledabstractorgeneralideas; and Berkeley endeavored to prove that all general ideas are nothing but particular ideas annexed to a certain term, which gives them a more extensive signification, and makes them recall, upon occasion, other individuals which are similar to them. Hume says that he regards this as 'one of the greatest and the most valuable discoveries that has been made of late years in the republic of letters,' and endeavors to confirm it in such a manner that it shall be 'put beyond all doubt and controversy.'
"I may venture to express a doubt whether he has succeeded in his object; but the subject is an abstruse one; and I must content myself with the remark, that though Berkeley's view appears to be largely applicable to such general ideas as are formed after language has been acquired, and to all the more abstract sort of conceptions, yet that general ideas of sensible objects may nevertheless be produced in the way indicated, and may exist independently of language. In dreams, one sees houses, trees, and other objects, which are perfectly recognizable as such, but which remind one of the actual objects as seen 'out of the corner of the eye,' or of the pictures thrown by a badly-focussed magic lantern. A man addresses us who is like a figure seen in twilight; or we travel through countries where every feature of the scenery is vague; the outlines of the hills are ill-marked, and the rivers have no defined banks. They are, in short, generic ideas of many past impressions of men, hills, and rivers. An anatomist who occupies himself intently with the examination of several specimens of some new kind of animal, in course of time acquires so vivid a conception of its form and structurethat the idea may take visible shape and become a sort of waking dream. But the figure which thus presents itself is generic, not specific. It is no copy of any one specimen, but, more or less, a mean of the series; and there seems no reason to doubt that the minds of children before they learn to speak, and of deaf-mutes, are peopled with similarly generated generic ideas of sensible objects."[52]
The only point which I am tempted to criticise in this account is Prof. Huxley'sidentification of these generic images with 'abstract or general ideas' in the sense of universal conceptions.Taine gives the truer view. He writes:
"Some years ago I saw in England, in Kew Gardens, for the first time, araucarias, and I walked along the beds looking at these strange plants, with their rigid bark and compact, short, scaly leaves, of a sombre green, whose abrupt, rough, bristling form cut in upon the fine softly-lighted turf of the fresh grass-plat. If I now inquire what this experience has left in me, I find, first, the sensible representation of an araucaria; in fact, I have been able to describe almost exactly the form and color of the plant. But there is a difference between this representation and the former sensations, of which it is the present echo. The internal semblance, from which I have just made my description, is vague, and my past sensations were precise. For, assuredly, each of the araucarias I saw then excited in me a distinct visual sensation; there are no two absolutely similar plants in nature; I observed perhaps twenty or thirty araucarias; without a doubt each one of them differed from the others in size, in girth, by the more or less obtuse angles of its branches, by the more or less abrupt jutting out of its scales, by the style of its texture; consequently, my twenty or thirty visual sensations were different. But no one of these sensations has completely survived in its echo; the twenty or thirty revivals have blunted one another; thus upset and agglutinated by their resemblance they are confounded together, and my present representation is their residue only. This is the product, or rather the fragment, which is deposited in us, when we have gone through a series of similar facts or individuals. Of our numerous experiences there remain on the following day four or five more or less distinct recollections, which, obliterated themselves, leave behind in us a simple colorless, vague representation, into which enter as components various reviving sensations, in an utterly feeble, incomplete, and abortive state.—But this representation is not the general and abstract idea. It is but its accompaniment,and, if I may say so, the ore from which it is extracted. For the representation, though badly sketched, is a sketch, the sensible sketch of a distinct individual.... But my abstract idea corresponds to the whole class; it differs, then, from the representation of an individual.—Moreover, my abstract ideais perfectly clear and determinate; now that I possess it, I never fail to recognize an araucaria among the various plants which may be shown me; it differs then from the confused and floating representation I have of some particular araucaria."[53]
"Some years ago I saw in England, in Kew Gardens, for the first time, araucarias, and I walked along the beds looking at these strange plants, with their rigid bark and compact, short, scaly leaves, of a sombre green, whose abrupt, rough, bristling form cut in upon the fine softly-lighted turf of the fresh grass-plat. If I now inquire what this experience has left in me, I find, first, the sensible representation of an araucaria; in fact, I have been able to describe almost exactly the form and color of the plant. But there is a difference between this representation and the former sensations, of which it is the present echo. The internal semblance, from which I have just made my description, is vague, and my past sensations were precise. For, assuredly, each of the araucarias I saw then excited in me a distinct visual sensation; there are no two absolutely similar plants in nature; I observed perhaps twenty or thirty araucarias; without a doubt each one of them differed from the others in size, in girth, by the more or less obtuse angles of its branches, by the more or less abrupt jutting out of its scales, by the style of its texture; consequently, my twenty or thirty visual sensations were different. But no one of these sensations has completely survived in its echo; the twenty or thirty revivals have blunted one another; thus upset and agglutinated by their resemblance they are confounded together, and my present representation is their residue only. This is the product, or rather the fragment, which is deposited in us, when we have gone through a series of similar facts or individuals. Of our numerous experiences there remain on the following day four or five more or less distinct recollections, which, obliterated themselves, leave behind in us a simple colorless, vague representation, into which enter as components various reviving sensations, in an utterly feeble, incomplete, and abortive state.—But this representation is not the general and abstract idea. It is but its accompaniment,and, if I may say so, the ore from which it is extracted. For the representation, though badly sketched, is a sketch, the sensible sketch of a distinct individual.... But my abstract idea corresponds to the whole class; it differs, then, from the representation of an individual.—Moreover, my abstract ideais perfectly clear and determinate; now that I possess it, I never fail to recognize an araucaria among the various plants which may be shown me; it differs then from the confused and floating representation I have of some particular araucaria."[53]
In other words, a blurred picture is just as much a single mental fact as a sharp picture is; andthe use of either picture by the mind to symbolize a whole class of individuals is a new mental function,requiring some other modification of consciousness than the mere perception that the picture is distinct or not. I may bewail the indistinctness of my mental image of my absent friend. That does not prevent my thought from meaninghimalone, however. And I may mean all mankind, with perhaps a very sharp image of one man in my mind's eye. The meaning is a function of the more 'transitive' parts of consciousness, the 'fringe' of relations which we feel surrounding the image, be the latter sharp or dim. This was explained in a previous place (see Vol. I, p. 473 ff., especially the note to page 477), and I would not touch upon the matter at all here but for its historical interest.
Our ideas or images of past sensible experiences may then be either distinct and adequate or dim, blurred, and incomplete. It is likely that the different degrees in which different men are able to make them sharp and complete has had something to do with keeping up such philosophic disputes as that of Berkeley with Locke over abstract ideas. Locke had spoken of our possessing 'the general idea of a triangle' which "must be neither oblique nor rectangle, neither equilateral, equicrural, nor scalenon, but all and none of these at once." Berkeley says:
"If any man has the faculty of framing in his mind such an idea of a triangle as is here described, it is in vain to pretend to dispute him out of it, nor would I go about it. All I desire is that the reader would fully and certainly inform himself whetherhehas such an idea or no."[54]
"If any man has the faculty of framing in his mind such an idea of a triangle as is here described, it is in vain to pretend to dispute him out of it, nor would I go about it. All I desire is that the reader would fully and certainly inform himself whetherhehas such an idea or no."[54]
Until very recent years it was supposed by all philosophers that there was a typical human mind which all individual minds were like, and that propositions of universal validity could be laid down about such faculties as 'theImagination.' Lately, however, a mass of revelations have poured in, which make us see how false a view this is. There are imaginations, not 'the Imagination,' and they must be studied in detail.
The first breaker of ground in this direction was Fechner, in 1860. Fechner was gifted with unusual talent for subjective observation, and in chapter xliv of his 'Psychophysik' he gave the results of a most careful comparison of his own optical after-images, with his optical memory-pictures, together with accounts by several other individuals of their optical memory-pictures.[55]The result was to show a greatpersonal diversity. "It would be interesting," he writes, "to work up the subject statistically; and I regret that other occupations have kept me from fulfilling my earlier intention to proceed in this way."
Flechner's intention was independently executed by Mr. Galton, the publication of whose results in 1880 may be said to have made an era in descriptive Psychology.
"It is not necessary," says Galton, "to trouble the reader with my early tentative steps. After the inquiry had been fairly started it took the form of submitting a certain number of printed questions to a large number of persons. There is hardly any more difficult task than that of framing questions which are not likely to be misunderstood, which admit of easy reply, and which cover the ground of inquiry. I did my best in these respects, without forgetting the most important part of all—namely, to tempt my correspondents to write freely in fuller explanation of their replies, and on cognate topics as well. These separate letters have proved more instructive and interesting by far than the replies to the set questions."The first group of the rather long series of queries related to the illumination, definition, and coloring of the mental image, and were framed thus:"'Before addressing yourself to any of the Questions on the opposite page, think of some definite object—suppose it is your breakfast-table as you sat down to it this morning—and consider carefully the picture that rises before your mind's eye."'1.Illumination.—Is the image dim or fairly clear? Is its brightness comparable to that of the actual scene?"'2.Definition.—Are all the objects pretty well defined at the same time, or is the place of sharpest definition at any one moment more contracted than it is in a real scene?"'3.Coloring.—Are the colors of the china, of the toast, bread-crust, mustard, meat, parsley, or whatever may have been on the table, quite distinct and natural?'"The earliest results of my inquiry amazed me. I had begun by questioning friends in the scientific world, as they were the most likely class of men to give accurate answers concerning this faculty of visualizing,to which novelists and poets continually allude, which has left an abiding mark on the vocabularies of every language, and which supplies the material out of which dreams and the well-known hallucinations of sick people are built."To my astonishment, I found thatthe great majority of the men of science to whom I first applied protested that mental imagery was unknown to them,and they looked on me as fanciful and fantastic in supposing that the words 'mental imagery' really expressed what I believed everybody supposed them to mean. They had no more notion of its true nature than a color-blind man, who has not discerned his defect, has of the nature of color. They had a mental deficiency of which they were unaware, and naturally enough supposed that those who affirmed they possessed it were romancing. To illustrate their mental attitude it will be sufficient to quote a few lines from the letter of one of my correspondents, who writes:"'These questions presuppose assent to some sort of a proposition regarding the "mind's eye," and the "images" which it sees.... This points to some initial fallacy.... It is only by a figure of speech that I can describe my recollection of a scene as a "mental image" which I can "see" with my "mind's eye."... I do not see it... any more than a man sees the thousand lines of Sophocles which under due pressure he is ready to repeat. The memory possesses it,' etc."Much the same result followed inquiries made for me by a friend among members of the French Institute."On the other hand, when I spoke to persons whom I metin general society, I found an entirely different disposition to prevail.Many men and a yet larger number of women, and many boys and girls, declared that they habitually saw mental imagery, and that it was perfectly distinct to them and full of color.The more I pressed and crossed-questioned them, professing myself to be incredulous, the more obvious was the truth of their first assertions. They described their imagery in minute detail, and they spoke in a tone of surprise at my apparent hesitation in accepting what they said. I felt that I myself should have spoken exactly as they did if I had been describing a scene that lay before my eyes, in broad daylight, to a blind man who persisted in doubting the reality of vision. Reassured by this happier experience, I recommenced to inquire among scientific men, and soon found scattered instances of what I sought, though in by no means the same abundance as elsewhere. I then circulated my questions more generally among my friends and through their hands, and obtained replies... from persons of both sexes, and of various ages, and in the end from occasional correspondents in nearly every civilized country."I have also received batches of answers from various educational establishments both in England and America, which were made after the masters had fully explained the meaning of the questions, and interested the boys in them. These have the merit of returns derived from a general census, which my other data lack, because I cannot fora moment suppose that the writers of the latter are a haphazard proportion of those to whom they were sent. Indeed I know of some who, disavowing all possession of the power, and of many others who, possessing it in too faint a degree to enable them to express what their experiences really were, in a manner satisfactory to themselves, sent no returns at all. Considerable statistical similarity was, however, observed between the sets of returns furnished by the schoolboys and those sent by my separate correspondents, and I may add that they accord in this respect with the oral information I have elsewhere obtained. The conformity of replies from so many different sources which was clear from the first, the fact of their apparent trustworthiness being on the whole much increased by cross-examination (though I could give one or two amusing instances of break-down), and the evident effort made to give accurate answers, have convinced me that it is a much easier matter than I had anticipated to obtain trustworthy replies to psychological questions. Many persons, especially women and intelligent children, take pleasure in introspection, and strive their very best to explain their mental processes. I think that a delight in self-dissection must be a strong ingredient in the pleasure that many are said to take in confessing themselves to priests."Here, then, are two rather notable results: the one is the proved facility of obtaining statistical insight into the processes of other persons' minds, whatevera prioriobjection may have been made as to its possibility; and the other is that scientific men, as a class, have feeble powers of visual representation. There is no doubt whatever on the latter point, however it may be accounted for. My own conclusion is that an over-ready perception of sharp mental pictures is antagonistic to the acquirement of habits of highly-generalized and abstract thought, especially when the steps of reasoning are carried on by words as symbols, and that if the faculty of seeing the pictures was ever possessed by men who think hard, it is very apt to be lost by disuse. The highest minds are probably those in which it is not lost, but subordinated, and is ready for use on suitable occasions. I am, however, bound to say that the missing faculty seems to be replaced so serviceably by other modes of conception, chiefly, I believe, connected with the incipient motor sense, not of the eyeballs only but of the muscles generally, thatmen who declare themselves entirely deficient in the power of seeing mental pictures can nevertheless give lifelike descriptionsof what they have seen, and can otherwise express themselves as if they were gifted with a vivid visual imagination.They can also become painters of the rank of Royal Academicians....[56]"It is a mistake to suppose that sharp sight is accompanied by clear visual memory. I have not a few instances in which the independence of the two faculties is emphatically commented on; and I have at least one clear case where great interest in outlines and accurate appreciation of straightness, squareness, and the like, is unaccompanied by the power of visualizing. Neither does the faculty go with dreaming. I have cases where it is powerful, and at the same time where dreams are rare and faint or altogether absent. One friend tells me that his dreams have not the hundredth part of the vigor of his waking fancies."The visualizing and the identifying powers are by no means necessarily combined. A distinguished writer on metaphysical topics assures me that he is exceptionally quick at recognizing a face that he has seen before, but that he cannot call up a mental image of any face with clearness."Some persons have the power of combining in a single perception more than can be seen at any one moment by the two eyes...."I find that a few persons can, by what they often describe as a kind of touch-sight, visualize at the same moment all round the image of a solid body. Many can do so nearly, but not altogether round that of a terrestrial globe. An eminent mineralogist assures me that he is able to imagine simultaneously all the sides of a crystal with which he is familiar. I may be allowed to quote a curious faculty of my own in respect to this. It is exercised only occasionally and in dreams, or rather in nightmares, but under those circumstances I am perfectly conscious of embracing an entire sphere in a single perception. It appears to lie within my mental eyeball, and to be viewed centripetally."This power of comprehension is practically attained in many cases by indirect methods. It is a common feat to take in the whole surroundings of an imagined room with such a rapid mental sweep as to leave some doubt whether it has not been viewed simultaneously. Some persons have the habit of viewing objects as though they were partly transparent; thus, if they so dispose a globe in their imagination as to see both its north and south poles at the same time, they will not be able to see its equatorial parts. They can also perceive all the rooms of an imaginary house by a single mental glance, the walls and floors being as if made of glass. A fourth class of persons have the habit of recalling scenes, not from the point of view whence they were observed, but from a distance, and they visualize their own selves as actors on the mental stage. By one or other of these ways, the power of seeing the whole of an object, and not merely one aspect of it, is possessed by many persons."The place where the image appears to lie differs much. Most persons see it in an indefinable sort of way, others see it in front of the eye, others at a distance corresponding to reality. There exists a power which is rare naturally, but can, I believe, be acquired without much difficulty, of projecting a mental picture upon a piece of paper, and ofholding it fast there, so that it can be outlined with a pencil. To this I shall recur."Images usually do not become stronger by dwelling on them; the first idea is commonly the most vigorous, but this is not always the case. Sometimes the mental view of a locality is inseparably connected with the sense of its position as regards the points of the compass, real or imaginary. I have received full and curious descriptions from very different sources of this strong geographical tendency, and in one or two cases I have reason to think it allied to a considerable faculty of geographical comprehension."The power of visualizing is higher in the female sex than in the male, and is somewhat, but not much, higher in public-school boys than in men. After maturity is reached, the further advance of age does not seem to dim the faculty, but rather the reverse, judging from numerous statements to that effect; but advancing years are sometimes accompanied by a growing habit of hard abstract thinking, and in these cases—not uncommon among those whom I have questioned—the faculty undoubtedly becomes impaired. There is reason to believe that it is very high in some young children, who seem to spend years of difficulty in distinguishing between the subjective and objective world. Language and book-learning certainly tend to dull it."The visualizing faculty is a natural gift, and, like all natural gifts, has a tendency to be inherited. In this faculty the tendency to inheritance is exceptionally strong, as I have abundant evidence to prove, especially in respect to certain rather rare peculiarities,... which, when they exist at all, are usually found among two, three, or more brothers and sisters, parents, children, uncles and aunts, and cousins."Since families differ so much in respect to this gift, we may suppose that races would also differ, and there can be no doubt that such is the case. I hardly like to refer to civilized nations, because their natural faculties are too much modified by education to allow of their being appraised in an off-hand fashion. I may, however, speak of the French, who appear to possess the visualizing faculty in a high degree. The peculiar ability they show in prearranging ceremonials andfêtesof all kinds, and their undoubted genius for tactics and strategy, show that they are able to foresee effects with unusual clearness. Their ingenuity in all technical contrivances is an additional testimony in the same direction, and so is their singular clearness of expression. Their phrase 'figurez-vous,' or 'picture to yourself,' seems to express their dominant mode of perception. Our equivalent of 'imagine' is ambiguous."I have many cases of persons mentally reading off scores when playing the pianoforte, or manuscript when they are making speeches. One statesman has assured me that a certain hesitation in utterance which he has at times is due to his being plagued by the image of hismanuscript speech with its original erasures and corrections. He cannot lay the ghost, and he puzzles in trying to decipher it."Some few persons see mentally in print every word that is uttered; they attend to the visual equivalent and not to the sound of the words, and they read them off usually as from a long imaginary strip of paper, such as is unwound from telegraphic instruments."
"It is not necessary," says Galton, "to trouble the reader with my early tentative steps. After the inquiry had been fairly started it took the form of submitting a certain number of printed questions to a large number of persons. There is hardly any more difficult task than that of framing questions which are not likely to be misunderstood, which admit of easy reply, and which cover the ground of inquiry. I did my best in these respects, without forgetting the most important part of all—namely, to tempt my correspondents to write freely in fuller explanation of their replies, and on cognate topics as well. These separate letters have proved more instructive and interesting by far than the replies to the set questions.
"The first group of the rather long series of queries related to the illumination, definition, and coloring of the mental image, and were framed thus:
"'Before addressing yourself to any of the Questions on the opposite page, think of some definite object—suppose it is your breakfast-table as you sat down to it this morning—and consider carefully the picture that rises before your mind's eye.
"'1.Illumination.—Is the image dim or fairly clear? Is its brightness comparable to that of the actual scene?
"'2.Definition.—Are all the objects pretty well defined at the same time, or is the place of sharpest definition at any one moment more contracted than it is in a real scene?
"'3.Coloring.—Are the colors of the china, of the toast, bread-crust, mustard, meat, parsley, or whatever may have been on the table, quite distinct and natural?'
"The earliest results of my inquiry amazed me. I had begun by questioning friends in the scientific world, as they were the most likely class of men to give accurate answers concerning this faculty of visualizing,to which novelists and poets continually allude, which has left an abiding mark on the vocabularies of every language, and which supplies the material out of which dreams and the well-known hallucinations of sick people are built.
"To my astonishment, I found thatthe great majority of the men of science to whom I first applied protested that mental imagery was unknown to them,and they looked on me as fanciful and fantastic in supposing that the words 'mental imagery' really expressed what I believed everybody supposed them to mean. They had no more notion of its true nature than a color-blind man, who has not discerned his defect, has of the nature of color. They had a mental deficiency of which they were unaware, and naturally enough supposed that those who affirmed they possessed it were romancing. To illustrate their mental attitude it will be sufficient to quote a few lines from the letter of one of my correspondents, who writes:
"'These questions presuppose assent to some sort of a proposition regarding the "mind's eye," and the "images" which it sees.... This points to some initial fallacy.... It is only by a figure of speech that I can describe my recollection of a scene as a "mental image" which I can "see" with my "mind's eye."... I do not see it... any more than a man sees the thousand lines of Sophocles which under due pressure he is ready to repeat. The memory possesses it,' etc.
"Much the same result followed inquiries made for me by a friend among members of the French Institute.
"On the other hand, when I spoke to persons whom I metin general society, I found an entirely different disposition to prevail.Many men and a yet larger number of women, and many boys and girls, declared that they habitually saw mental imagery, and that it was perfectly distinct to them and full of color.The more I pressed and crossed-questioned them, professing myself to be incredulous, the more obvious was the truth of their first assertions. They described their imagery in minute detail, and they spoke in a tone of surprise at my apparent hesitation in accepting what they said. I felt that I myself should have spoken exactly as they did if I had been describing a scene that lay before my eyes, in broad daylight, to a blind man who persisted in doubting the reality of vision. Reassured by this happier experience, I recommenced to inquire among scientific men, and soon found scattered instances of what I sought, though in by no means the same abundance as elsewhere. I then circulated my questions more generally among my friends and through their hands, and obtained replies... from persons of both sexes, and of various ages, and in the end from occasional correspondents in nearly every civilized country.
"I have also received batches of answers from various educational establishments both in England and America, which were made after the masters had fully explained the meaning of the questions, and interested the boys in them. These have the merit of returns derived from a general census, which my other data lack, because I cannot fora moment suppose that the writers of the latter are a haphazard proportion of those to whom they were sent. Indeed I know of some who, disavowing all possession of the power, and of many others who, possessing it in too faint a degree to enable them to express what their experiences really were, in a manner satisfactory to themselves, sent no returns at all. Considerable statistical similarity was, however, observed between the sets of returns furnished by the schoolboys and those sent by my separate correspondents, and I may add that they accord in this respect with the oral information I have elsewhere obtained. The conformity of replies from so many different sources which was clear from the first, the fact of their apparent trustworthiness being on the whole much increased by cross-examination (though I could give one or two amusing instances of break-down), and the evident effort made to give accurate answers, have convinced me that it is a much easier matter than I had anticipated to obtain trustworthy replies to psychological questions. Many persons, especially women and intelligent children, take pleasure in introspection, and strive their very best to explain their mental processes. I think that a delight in self-dissection must be a strong ingredient in the pleasure that many are said to take in confessing themselves to priests.
"Here, then, are two rather notable results: the one is the proved facility of obtaining statistical insight into the processes of other persons' minds, whatevera prioriobjection may have been made as to its possibility; and the other is that scientific men, as a class, have feeble powers of visual representation. There is no doubt whatever on the latter point, however it may be accounted for. My own conclusion is that an over-ready perception of sharp mental pictures is antagonistic to the acquirement of habits of highly-generalized and abstract thought, especially when the steps of reasoning are carried on by words as symbols, and that if the faculty of seeing the pictures was ever possessed by men who think hard, it is very apt to be lost by disuse. The highest minds are probably those in which it is not lost, but subordinated, and is ready for use on suitable occasions. I am, however, bound to say that the missing faculty seems to be replaced so serviceably by other modes of conception, chiefly, I believe, connected with the incipient motor sense, not of the eyeballs only but of the muscles generally, thatmen who declare themselves entirely deficient in the power of seeing mental pictures can nevertheless give lifelike descriptionsof what they have seen, and can otherwise express themselves as if they were gifted with a vivid visual imagination.They can also become painters of the rank of Royal Academicians....[56]
"It is a mistake to suppose that sharp sight is accompanied by clear visual memory. I have not a few instances in which the independence of the two faculties is emphatically commented on; and I have at least one clear case where great interest in outlines and accurate appreciation of straightness, squareness, and the like, is unaccompanied by the power of visualizing. Neither does the faculty go with dreaming. I have cases where it is powerful, and at the same time where dreams are rare and faint or altogether absent. One friend tells me that his dreams have not the hundredth part of the vigor of his waking fancies.
"The visualizing and the identifying powers are by no means necessarily combined. A distinguished writer on metaphysical topics assures me that he is exceptionally quick at recognizing a face that he has seen before, but that he cannot call up a mental image of any face with clearness.
"Some persons have the power of combining in a single perception more than can be seen at any one moment by the two eyes....
"I find that a few persons can, by what they often describe as a kind of touch-sight, visualize at the same moment all round the image of a solid body. Many can do so nearly, but not altogether round that of a terrestrial globe. An eminent mineralogist assures me that he is able to imagine simultaneously all the sides of a crystal with which he is familiar. I may be allowed to quote a curious faculty of my own in respect to this. It is exercised only occasionally and in dreams, or rather in nightmares, but under those circumstances I am perfectly conscious of embracing an entire sphere in a single perception. It appears to lie within my mental eyeball, and to be viewed centripetally.
"This power of comprehension is practically attained in many cases by indirect methods. It is a common feat to take in the whole surroundings of an imagined room with such a rapid mental sweep as to leave some doubt whether it has not been viewed simultaneously. Some persons have the habit of viewing objects as though they were partly transparent; thus, if they so dispose a globe in their imagination as to see both its north and south poles at the same time, they will not be able to see its equatorial parts. They can also perceive all the rooms of an imaginary house by a single mental glance, the walls and floors being as if made of glass. A fourth class of persons have the habit of recalling scenes, not from the point of view whence they were observed, but from a distance, and they visualize their own selves as actors on the mental stage. By one or other of these ways, the power of seeing the whole of an object, and not merely one aspect of it, is possessed by many persons.
"The place where the image appears to lie differs much. Most persons see it in an indefinable sort of way, others see it in front of the eye, others at a distance corresponding to reality. There exists a power which is rare naturally, but can, I believe, be acquired without much difficulty, of projecting a mental picture upon a piece of paper, and ofholding it fast there, so that it can be outlined with a pencil. To this I shall recur.
"Images usually do not become stronger by dwelling on them; the first idea is commonly the most vigorous, but this is not always the case. Sometimes the mental view of a locality is inseparably connected with the sense of its position as regards the points of the compass, real or imaginary. I have received full and curious descriptions from very different sources of this strong geographical tendency, and in one or two cases I have reason to think it allied to a considerable faculty of geographical comprehension.
"The power of visualizing is higher in the female sex than in the male, and is somewhat, but not much, higher in public-school boys than in men. After maturity is reached, the further advance of age does not seem to dim the faculty, but rather the reverse, judging from numerous statements to that effect; but advancing years are sometimes accompanied by a growing habit of hard abstract thinking, and in these cases—not uncommon among those whom I have questioned—the faculty undoubtedly becomes impaired. There is reason to believe that it is very high in some young children, who seem to spend years of difficulty in distinguishing between the subjective and objective world. Language and book-learning certainly tend to dull it.
"The visualizing faculty is a natural gift, and, like all natural gifts, has a tendency to be inherited. In this faculty the tendency to inheritance is exceptionally strong, as I have abundant evidence to prove, especially in respect to certain rather rare peculiarities,... which, when they exist at all, are usually found among two, three, or more brothers and sisters, parents, children, uncles and aunts, and cousins.
"Since families differ so much in respect to this gift, we may suppose that races would also differ, and there can be no doubt that such is the case. I hardly like to refer to civilized nations, because their natural faculties are too much modified by education to allow of their being appraised in an off-hand fashion. I may, however, speak of the French, who appear to possess the visualizing faculty in a high degree. The peculiar ability they show in prearranging ceremonials andfêtesof all kinds, and their undoubted genius for tactics and strategy, show that they are able to foresee effects with unusual clearness. Their ingenuity in all technical contrivances is an additional testimony in the same direction, and so is their singular clearness of expression. Their phrase 'figurez-vous,' or 'picture to yourself,' seems to express their dominant mode of perception. Our equivalent of 'imagine' is ambiguous.
"I have many cases of persons mentally reading off scores when playing the pianoforte, or manuscript when they are making speeches. One statesman has assured me that a certain hesitation in utterance which he has at times is due to his being plagued by the image of hismanuscript speech with its original erasures and corrections. He cannot lay the ghost, and he puzzles in trying to decipher it.
"Some few persons see mentally in print every word that is uttered; they attend to the visual equivalent and not to the sound of the words, and they read them off usually as from a long imaginary strip of paper, such as is unwound from telegraphic instruments."
The reader will find further details in Mr. Galton's 'Inquiries into Human Faculty,' pp. 83-114.[57]I have myself for many years collected from each and all of my psychology-students descriptions of their own visual imagination; and found (together with some curious idiosyncrasies) corroboration of all the variations which Mr. Galton reports. As examples, I subjoin extracts from two cases near the ends of the scale. The writers are first cousins, grandsons of a distinguished man of science. The one who is a good visualizer says:
"This morning's breakfast-table is both dim and bright; it is dim if I try to think of it when my eyes are open upon any object; it is perfectly clear and bright if I think of it with my eyes closed.—All the objects are clear at once, yet when I confine my attention to any one object it becomes far more distinct.—I have more power to recall color than any other one thing: if, for example, I were to recall a plate decorated with flowers I could reproduce in a drawing the exact tone, etc. The color of anything that was on the table is perfectly vivid.—There is very little limitation to the extent of my images: I can see all four sides of a room, I can see all four sides of two, three, four, even more rooms with such distinctness that if you should ask me what was in any particular place in any one, or ask me to count the chairs, etc., I could do it without the least hesitation.—The more I learn by heart the more clearly do I see images of my pages. Even before I can recite the lines I see them so that I could give them very slowly word for word, but my mind is so occupied in looking at my printed image that I have no idea of what I am saying, of the sense of it, etc. When I first found myself doing this I used to think it was merely because I knew the lines imperfectly; but I have quite convinced myself that I really do see an image. The strongest proof that such is really the fact is, I think, the following:"I can look down the mentally seen page and see the words thatcommenceall the lines, and from any one of these words I can continuethe line. I find this much easier to do if the words begin in a straight line than if there are breaks. Example:Étant fait....Tous....A des....Que fit....Céres....Avec....Un fleur....Comme....(La Fontaine8. iv.)"
"This morning's breakfast-table is both dim and bright; it is dim if I try to think of it when my eyes are open upon any object; it is perfectly clear and bright if I think of it with my eyes closed.—All the objects are clear at once, yet when I confine my attention to any one object it becomes far more distinct.—I have more power to recall color than any other one thing: if, for example, I were to recall a plate decorated with flowers I could reproduce in a drawing the exact tone, etc. The color of anything that was on the table is perfectly vivid.—There is very little limitation to the extent of my images: I can see all four sides of a room, I can see all four sides of two, three, four, even more rooms with such distinctness that if you should ask me what was in any particular place in any one, or ask me to count the chairs, etc., I could do it without the least hesitation.—The more I learn by heart the more clearly do I see images of my pages. Even before I can recite the lines I see them so that I could give them very slowly word for word, but my mind is so occupied in looking at my printed image that I have no idea of what I am saying, of the sense of it, etc. When I first found myself doing this I used to think it was merely because I knew the lines imperfectly; but I have quite convinced myself that I really do see an image. The strongest proof that such is really the fact is, I think, the following:
"I can look down the mentally seen page and see the words thatcommenceall the lines, and from any one of these words I can continuethe line. I find this much easier to do if the words begin in a straight line than if there are breaks. Example:
Étant fait....Tous....A des....Que fit....Céres....Avec....Un fleur....Comme....(La Fontaine8. iv.)"
The poor visualizer says:
"My ability to form mental images seems, from what I have studied of other people's images, to be defective, and somewhat peculiar. The process by which I seem to remember any particular event is not by a series of distinct images, but a sort of panorama, the faintest impressions of which are perceptible through a thick fog.—I cannot shut my eyes and get a distinct image of anyone, although I used to be able to a few years ago, and the faculty seems to have gradually slipped away.—In my most vivid dreams, where the events appear like the most real facts, I am often troubled with a dimness of sight which causes the images to appear indistinct.—To come to the question of the breakfast-table, there is nothing definite about it. Everything is vague. I cannot saywhatI see. I could not possibly count the chairs, but I happen to know that there are ten. I see nothing in detail.—The chief thing is a general impression that I cannot tell exactly what I do see. The coloring is about the same, as far as I can recall it, only very much washed out. Perhaps the only color I can see at all distinctly is that of the table-cloth, and I could probably see the color of the wall-paper if I could remember what color it was."
"My ability to form mental images seems, from what I have studied of other people's images, to be defective, and somewhat peculiar. The process by which I seem to remember any particular event is not by a series of distinct images, but a sort of panorama, the faintest impressions of which are perceptible through a thick fog.—I cannot shut my eyes and get a distinct image of anyone, although I used to be able to a few years ago, and the faculty seems to have gradually slipped away.—In my most vivid dreams, where the events appear like the most real facts, I am often troubled with a dimness of sight which causes the images to appear indistinct.—To come to the question of the breakfast-table, there is nothing definite about it. Everything is vague. I cannot saywhatI see. I could not possibly count the chairs, but I happen to know that there are ten. I see nothing in detail.—The chief thing is a general impression that I cannot tell exactly what I do see. The coloring is about the same, as far as I can recall it, only very much washed out. Perhaps the only color I can see at all distinctly is that of the table-cloth, and I could probably see the color of the wall-paper if I could remember what color it was."
A person whose visual imagination is strong finds it hard to understand how those who are without the faculty can think at all.Some people undoubtedly have no visual images at all worthy of the name,[58]and instead ofseeingtheir breakfast-table, they tell you that theyrememberit orknowwhat was on it. This knowing and remembering takesplace undoubtedly by means of verbal images, as was explained already in Chapter IX, pp. 265-6.
The study of Aphasia(see Vol. I, p. 54)has of late years shown how unexpectedly great are the differences between individuals in respect of imagination.And at the same time the discrepancies between lesion and symptom in different cases of the disease have been largely cleared up. In some individuals the habitual 'thought-stuff,' if one may so call it, is visual; in others it is auditory, articulatory, or motor; in most, perhaps, it is evenly mixed. The same local cerebral injury must needs work different practical results in persons who differ in this way. In one it will throw a much-used brain-tract out of gear; in the other it may affect an unimportant region. A particularly instructive case was published by Charcot in 1883.[59]The patient was
Mr. X., a merchant, born in Vienna, highly educated, master of German, Spanish, French, Greek, and Latin. Up to the beginning of the malady which took him to Professor Charcot, he read Homer at sight. He could, starting from any verse out of the first book of the Iliad, repeat the following verses without hesitating, by heart. Virgil and Horace were familiar. He also knew enough of modern Greek for business purposes. Up to within a year (from the time Charcot saw him) he enjoyed an exceptionalvisualmemory. He no sooner thought of persons or things, but features, forms, and colors arose with the same clearness, sharpness, and accuracy as if the objects stood before him. When he tried to recall a fact or a figure in his voluminous polyglot correspondence, the letters themselves appeared before him with their entire content, irregularities, erasures and all. At school he recited from a mentally seen page which he read off line by line and letter by letter. In making computations, he ran his mental eye down imaginary columns of figures, and performed in this way the most varied operations of arithmetic. He could never think of a passage in a play without the entire scene, stage, actors, and audience appearing to him. He had been a great traveller. Being a good draughtsman, he used to sketch views which pleased him; and his memory always brought back the entire landscape exactly. If he thought of a conversation, a saying, an engagement, the place, the people, the entire scene rose before his mind.Hisauditory memorywas always deficient, or at least secondary. He had no taste for music.A year and a half previous to examination, after business-anxieties, loss of sleep, appetite, etc., he noticed suddenly one day an extraordinary change in himself. After complete confusion, there came a violent contrast between his old and his new state. Everything about him seemed so new and foreign that at first he thought he must be going mad. He was nervous and irritable. Although he saw all things distinct, he had entirely lost his memory for forms and colors. On ascertaining this, he became reassured as to his sanity. He soon discovered that he could carry on his affairs by using his memory in an altogether new way. He can now describe clearly the difference between his two conditions.Every time he returns to A., from which place business often calls him, he seems to himself as if entering a strange city. He views the monuments, houses, and streets with the same surprise as if he saw them for the first time. Gradually, however, his memory returns, and he finds himself at home again. When asked to describe the principal public place of the town, he answered, "I know that it is there, but it is impossible to imagine it, and I can tell you nothing about it." He has often drawn the port of A. To-day he vainly tries to trace its principal outlines. Asked to draw a minaret, he reflects, says it is a square tower, and draws, rudely, four lines, one for ground, one for top, and two for sides. Asked to draw an arcade, he says, "I remember that it contains semi-circular arches, and that two of them meeting at an angle make a vault, but how itlooksI am absolutely unable to imagine." The profile of a man which he drew by request was as if drawn by a little child; and yet he confessed that he had been helped to draw it by looking at the bystanders. Similarly he drew a shapeless scribble for a tree.He can no more remember his wife's and children's faces than he can remember the port of A. Even after being with them some time they seem unusual to him. He forgets his own face, and once spoke to his image in a mirror, taking it for a stranger. He complains of his loss of feeling for colors. "My wife has black hair, this I know; but I can no more recall its color than I can her person and features." This visual amnesia extends to dating objects from his childhood's years—paternal mansion, etc., forgotten.No other disturbances but this loss of visual images. Now when he seeks something in his correspondence, he must rummage among the letters like other men, until he meets the passage. He can recall only the first few verses of the Iliad, and mustgropeto read Homer, Virgil, and Horace. Figures which he adds he must now whisper to himself. He realises clearly that he must help his memory out with auditory images, which he does with effort.The words and expressions which he recalls seem now to echo in his ear, an altogether novel sensation for him.If he wishes to learn by heart anything, a series of phrases for example, he mustread them several times aloud, so as to impress his ear. When later he repeats the thing in question, the sensation of inwardhearing which precedes articulation rises up in his mind. This feeling was formerly unknown to him. He speaks French fluently; but affirms that he can no longer think in French; but must get his French words by translating them from Spanish or German, the languages of his childhood. He dreams no more in visual terms, but only in words, usually Spanish words. A certain degree of verbal blindness affects him—he is troubled by the Greek alphabet, etc.[60]
Mr. X., a merchant, born in Vienna, highly educated, master of German, Spanish, French, Greek, and Latin. Up to the beginning of the malady which took him to Professor Charcot, he read Homer at sight. He could, starting from any verse out of the first book of the Iliad, repeat the following verses without hesitating, by heart. Virgil and Horace were familiar. He also knew enough of modern Greek for business purposes. Up to within a year (from the time Charcot saw him) he enjoyed an exceptionalvisualmemory. He no sooner thought of persons or things, but features, forms, and colors arose with the same clearness, sharpness, and accuracy as if the objects stood before him. When he tried to recall a fact or a figure in his voluminous polyglot correspondence, the letters themselves appeared before him with their entire content, irregularities, erasures and all. At school he recited from a mentally seen page which he read off line by line and letter by letter. In making computations, he ran his mental eye down imaginary columns of figures, and performed in this way the most varied operations of arithmetic. He could never think of a passage in a play without the entire scene, stage, actors, and audience appearing to him. He had been a great traveller. Being a good draughtsman, he used to sketch views which pleased him; and his memory always brought back the entire landscape exactly. If he thought of a conversation, a saying, an engagement, the place, the people, the entire scene rose before his mind.
Hisauditory memorywas always deficient, or at least secondary. He had no taste for music.
A year and a half previous to examination, after business-anxieties, loss of sleep, appetite, etc., he noticed suddenly one day an extraordinary change in himself. After complete confusion, there came a violent contrast between his old and his new state. Everything about him seemed so new and foreign that at first he thought he must be going mad. He was nervous and irritable. Although he saw all things distinct, he had entirely lost his memory for forms and colors. On ascertaining this, he became reassured as to his sanity. He soon discovered that he could carry on his affairs by using his memory in an altogether new way. He can now describe clearly the difference between his two conditions.
Every time he returns to A., from which place business often calls him, he seems to himself as if entering a strange city. He views the monuments, houses, and streets with the same surprise as if he saw them for the first time. Gradually, however, his memory returns, and he finds himself at home again. When asked to describe the principal public place of the town, he answered, "I know that it is there, but it is impossible to imagine it, and I can tell you nothing about it." He has often drawn the port of A. To-day he vainly tries to trace its principal outlines. Asked to draw a minaret, he reflects, says it is a square tower, and draws, rudely, four lines, one for ground, one for top, and two for sides. Asked to draw an arcade, he says, "I remember that it contains semi-circular arches, and that two of them meeting at an angle make a vault, but how itlooksI am absolutely unable to imagine." The profile of a man which he drew by request was as if drawn by a little child; and yet he confessed that he had been helped to draw it by looking at the bystanders. Similarly he drew a shapeless scribble for a tree.
He can no more remember his wife's and children's faces than he can remember the port of A. Even after being with them some time they seem unusual to him. He forgets his own face, and once spoke to his image in a mirror, taking it for a stranger. He complains of his loss of feeling for colors. "My wife has black hair, this I know; but I can no more recall its color than I can her person and features." This visual amnesia extends to dating objects from his childhood's years—paternal mansion, etc., forgotten.
No other disturbances but this loss of visual images. Now when he seeks something in his correspondence, he must rummage among the letters like other men, until he meets the passage. He can recall only the first few verses of the Iliad, and mustgropeto read Homer, Virgil, and Horace. Figures which he adds he must now whisper to himself. He realises clearly that he must help his memory out with auditory images, which he does with effort.The words and expressions which he recalls seem now to echo in his ear, an altogether novel sensation for him.If he wishes to learn by heart anything, a series of phrases for example, he mustread them several times aloud, so as to impress his ear. When later he repeats the thing in question, the sensation of inwardhearing which precedes articulation rises up in his mind. This feeling was formerly unknown to him. He speaks French fluently; but affirms that he can no longer think in French; but must get his French words by translating them from Spanish or German, the languages of his childhood. He dreams no more in visual terms, but only in words, usually Spanish words. A certain degree of verbal blindness affects him—he is troubled by the Greek alphabet, etc.[60]
If this patient had possessed the auditory type of imagination from the start, it is evident that the injury, whatever it was, to his centres for optical imagination, would have affected his practical life much less profoundly.
"The auditory type," says M. A. Binet,[61]"appears to be rarer than the visual.Persons of this type imagine what they think of in the language of sound. In order to remember a lesson they impress upon their mind, not the look of the page, but the sound of the words. They reason, as well as remember, by ear. In performing a mental addition they repeat verbally the names of the figures, and add, as it were, the sounds, without any thought of the graphic signs. Imagination also takes the auditory form. 'When I write a scene,' said Legouvé to Scribe, 'Ihear; but yousee. In each phrase which I write, the voice of the personage who speaks strikes my ear.Vous, qui êtes le théâtre même, your actors walk, gesticulate before your eyes; I am alistener, you aspectator.'—'Nothing more true,' said Scribe; 'do you know where I am when I write a piece? In the middle of the parterre.' It is clear that thepure audile, seeking to develop only a single one of his faculties, may, like the pure visualizer, perform astounding feats of memory—Mozart, for example, noting from memory theMiserereof the Sistine Chapel after two hearings; the deaf Beethoven, composing and inwardly repeating his enormous symphonies. On the other hand, the man of auditory type, like the visual, is exposed to serious dangers; for if he lose his auditory images, he is without resource and breaks down completely."It is possible that persons with hallucinations of hearing, andindividuals afflicted with the mania that they are victims of persecution, may all belong to the auditory type; and that the predominance of a certain kind of imagination may predispose to a certain order of hallucinations, and perhaps of delirium."Themotor typeremains—perhaps the most interesting of all, and certainly the one of which least is known. Persons who belong to this type [les moteurs, in French,motiles, as Mr. Galton proposes to call them in English] make use, in memory, reasoning, and all their intellectual operations, of images derived from movement. In order to understand this important point, it is enough to remember that 'all our perceptions, and in particular the important ones, those of sight and touch, contain as integral elements the movements of our eyes and limbs; and that, if movement is ever an essential factor in our really seeing an object, it must be an equally essential factor when we see the same object in imagination' (Ribot).[62]For example, the complex impression of a ball, which is there, in our hand, is the resultant of optical impressions of touch, of muscular adjustments of the eye, of the movements of our fingers, and of the muscular sensations which these yield. When we imagine the ball, its idea must include the images of these muscular sensations, just as it includes those of the retinal and epidermal sensations. They form so manymotor images. If they were not earlier recognized to exist, that is because our knowledge of the muscular sense is relatively so recent. In older psychologies it never was mentioned, the number of senses being restricted to five."There are persons who remember a drawing better when they have followed its outlines with their finger. Lecoq de Boisbaudran used this means in his artistic teaching, in order to accustom his pupils to draw from memory. He made them follow the outlines of figures with a pencil held in the air, forcing them thus to associate muscular with visual memory. Galton quotes a curious corroborative fact. Colonel Moncrieff often observed in North America young Indians who, visiting occasionally his quarters, interested themselves greatly in the engravings which were shown them. One of them followed with care with the point of his knife the outline of a drawing in the Illustrated London News, saying that this was to enable him to carve it out the better on his return home. In this ease the motor images were toreinforce the visual ones. The young savage was amotor....[63]When one's motor images are destroyed, one loses one's remembrance of movements, and sometimes, more curiously still, one loses the power of executing them. Pathology gives us examples in motor aphasia, agraphia, etc. Take the case of agraphia. An educated man, knowing how to write, suddenly loses this power, as a result of cerebral injury. His hand and arm are in no way paralytic, yet he cannot write. Whence this loss of power? He tells us himself: he no longer knows how. He has forgotten how to set about it to trace the letters, he has lost the memory of the movements to be executed, he has no longer the motor images which, when formerly he wrote, directed his hand.... Other patients, affected with word-blindness, resort to these motor images precisely to make amends for their other deficiency.... An individual affected in this way cannot read letters which are placed before his eyes, even although his sight be good enough for the purpose. This loss of the power of reading by sight may, at a certain time, be the only trouble the patient has. Individuals thus mutilated succeed in reading by an ingenious roundabout way which they often discover themselves: it is enough that they should trace the letters with their finger to understand their sense. What happens in such a case? How can the hand supply the place of the eye? The motor image gives the key to the problem. If the patient can read, so to speak, with his fingers, it is because in tracing the letters he gives himself a certain number of muscular impressions which are those of writing. In one word, the patient reads by writing (Charcot): the feeling of the graphic movements suggests the sense of what is being written as well as sight would."[64]
"The auditory type," says M. A. Binet,[61]"appears to be rarer than the visual.Persons of this type imagine what they think of in the language of sound. In order to remember a lesson they impress upon their mind, not the look of the page, but the sound of the words. They reason, as well as remember, by ear. In performing a mental addition they repeat verbally the names of the figures, and add, as it were, the sounds, without any thought of the graphic signs. Imagination also takes the auditory form. 'When I write a scene,' said Legouvé to Scribe, 'Ihear; but yousee. In each phrase which I write, the voice of the personage who speaks strikes my ear.Vous, qui êtes le théâtre même, your actors walk, gesticulate before your eyes; I am alistener, you aspectator.'—'Nothing more true,' said Scribe; 'do you know where I am when I write a piece? In the middle of the parterre.' It is clear that thepure audile, seeking to develop only a single one of his faculties, may, like the pure visualizer, perform astounding feats of memory—Mozart, for example, noting from memory theMiserereof the Sistine Chapel after two hearings; the deaf Beethoven, composing and inwardly repeating his enormous symphonies. On the other hand, the man of auditory type, like the visual, is exposed to serious dangers; for if he lose his auditory images, he is without resource and breaks down completely.
"It is possible that persons with hallucinations of hearing, andindividuals afflicted with the mania that they are victims of persecution, may all belong to the auditory type; and that the predominance of a certain kind of imagination may predispose to a certain order of hallucinations, and perhaps of delirium.
"Themotor typeremains—perhaps the most interesting of all, and certainly the one of which least is known. Persons who belong to this type [les moteurs, in French,motiles, as Mr. Galton proposes to call them in English] make use, in memory, reasoning, and all their intellectual operations, of images derived from movement. In order to understand this important point, it is enough to remember that 'all our perceptions, and in particular the important ones, those of sight and touch, contain as integral elements the movements of our eyes and limbs; and that, if movement is ever an essential factor in our really seeing an object, it must be an equally essential factor when we see the same object in imagination' (Ribot).[62]For example, the complex impression of a ball, which is there, in our hand, is the resultant of optical impressions of touch, of muscular adjustments of the eye, of the movements of our fingers, and of the muscular sensations which these yield. When we imagine the ball, its idea must include the images of these muscular sensations, just as it includes those of the retinal and epidermal sensations. They form so manymotor images. If they were not earlier recognized to exist, that is because our knowledge of the muscular sense is relatively so recent. In older psychologies it never was mentioned, the number of senses being restricted to five.
"There are persons who remember a drawing better when they have followed its outlines with their finger. Lecoq de Boisbaudran used this means in his artistic teaching, in order to accustom his pupils to draw from memory. He made them follow the outlines of figures with a pencil held in the air, forcing them thus to associate muscular with visual memory. Galton quotes a curious corroborative fact. Colonel Moncrieff often observed in North America young Indians who, visiting occasionally his quarters, interested themselves greatly in the engravings which were shown them. One of them followed with care with the point of his knife the outline of a drawing in the Illustrated London News, saying that this was to enable him to carve it out the better on his return home. In this ease the motor images were toreinforce the visual ones. The young savage was amotor....[63]When one's motor images are destroyed, one loses one's remembrance of movements, and sometimes, more curiously still, one loses the power of executing them. Pathology gives us examples in motor aphasia, agraphia, etc. Take the case of agraphia. An educated man, knowing how to write, suddenly loses this power, as a result of cerebral injury. His hand and arm are in no way paralytic, yet he cannot write. Whence this loss of power? He tells us himself: he no longer knows how. He has forgotten how to set about it to trace the letters, he has lost the memory of the movements to be executed, he has no longer the motor images which, when formerly he wrote, directed his hand.... Other patients, affected with word-blindness, resort to these motor images precisely to make amends for their other deficiency.... An individual affected in this way cannot read letters which are placed before his eyes, even although his sight be good enough for the purpose. This loss of the power of reading by sight may, at a certain time, be the only trouble the patient has. Individuals thus mutilated succeed in reading by an ingenious roundabout way which they often discover themselves: it is enough that they should trace the letters with their finger to understand their sense. What happens in such a case? How can the hand supply the place of the eye? The motor image gives the key to the problem. If the patient can read, so to speak, with his fingers, it is because in tracing the letters he gives himself a certain number of muscular impressions which are those of writing. In one word, the patient reads by writing (Charcot): the feeling of the graphic movements suggests the sense of what is being written as well as sight would."[64]