And, as he added in another place, [Footnote: _A Pluralistic Universe_, p. 329.] "your acting thus may in certain special cases be a means of making it securely true in the end." Yet no one would have insisted more than he, that, so far as we know how, we must avoid subst.i.tuting the goal for the starting point, must avoid reading back into the present what courage, effort and skill might create in the future. Yet this truism is inordinately difficult to live by, because every one of us is so little trained in the selection of our samples.
If we believe that a certain thing ought to be true, we can almost always find either an instance where it is true, or someone who believes it ought to be true. It is ever so hard when a concrete fact ill.u.s.trates a hope to weigh that fact properly. When the first six people we meet agree with us, it is not easy to remember that they may all have read the same newspaper at breakfast. And yet we cannot send out a questionnaire to 816 random samples every time we wish to estimate a probability. In dealing with any large ma.s.s of facts, the presumption is against our having picked true samples, if we are acting on a casual impression.
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And when we try to go one step further in order to seek the causes and effects of unseen and complicated affairs, haphazard opinion is very tricky. There are few big issues in public life where cause and effect are obvious at once. They are not obvious to scholars who have devoted years, let us say, to studying business cycles, or price and wage movements, or the migration and the a.s.similation of peoples, or the diplomatic purposes of foreign powers. Yet somehow we are all supposed to have opinions on these matters, and it is not surprising that the commonest form of reasoning is the intuitive, post hoc ergo propter hoc.
The more untrained a mind, the more readily it works out a theory that two things which catch its attention at the same time are causally connected. We have already dwelt at some length on the way things reach our attention. We have seen that our access to information is obstructed and uncertain, and that our apprehension is deeply controlled by our stereotypes; that the evidence available to our reason is subject to illusions of defense, prestige, morality, s.p.a.ce, time, and sampling. We must note now that with this initial taint, public opinions are still further beset, because in a series of events seen mostly through stereotypes, we readily accept sequence or parallelism as equivalent to cause and effect.
This is most likely to happen when two ideas that come together arouse the same feeling. If they come together they are likely to arouse the same feeling; and even when they do not arrive together a powerful feeling attached to one is likely to suck out of all the corners of memory any idea that feels about the same. Thus everything painful tends to collect into one system of cause and effect, and likewise everything pleasant.
"IId IIm (1675) This day I hear that G[od] has shot an arrow into the midst of this Town. The small pox is in an ordinary ye sign of the Swan, the ordinary Keepers name is Windsor. His daughter is sick of the disease. It is observable that this disease begins at an alehouse, to testify G.o.d"s displeasure agt the sin of drunkenness & yt of multiplying alehouses!" [Footnote: _The Heart of the Puritan_, p.
177, edited by Elizabeth Deering Hanscom.]
Thus Increase Mather, and thus in the year 1919 a distinguished Professor of Celestial Mechanics discussing the Einstein theory:
"It may well be that.... Bolshevist uprisings are in reality the visible objects of some underlying, deep, mental disturbance, world-wide in character.... This same spirit of unrest has invaded science." [Footnote: Cited in _The New Republic_, Dec. 24, 1919, p. 120.]
In hating one thing violently, we readily a.s.sociate with it as cause or effect most of the other things we hate or fear violently. They may have no more connection than smallpox and alehouses, or Relativity and Bolshevism, but they are bound together in the same emotion. In a superst.i.tious mind, like that of the Professor of Celestial Mechanics, emotion is a stream of molten lava which catches and imbeds whatever it touches. When you excavate in it you find, as in a buried city, all sorts of objects ludicrously entangled in each other. Anything can be related to anything else, provided it feels like it. Nor has a mind in such a state any way of knowing how preposterous it is. Ancient fears, reinforced by more recent fears, coagulate into a snarl of fears where anything that is dreaded is the cause of anything else that is dreaded.
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Generally it all culminates in the fabrication of a system of all evil, and of another which is the system of all good. Then our love of the absolute shows itself. For we do not like qualifying adverbs. [Footnote: _Cf_. Freud"s discussion of absolutism in dreams, _Interpretation of Dreams_, Chapter VI, especially pp.
288, _et seq_.] They clutter up sentences, and interfere with irresistible feeling. We prefer most to more, least to less, we dislike the words rather, perhaps, if, or, but, toward, not quite, almost, temporarily, partly. Yet nearly every opinion about public affairs needs to be deflated by some word of this sort. But in our free moments everything tends to behave absolutely,--one hundred percent, everywhere, forever.
It is not enough to say that our side is more right than the enemy"s, that our victory will help democracy more than his. One must insist that our victory will end war forever, and make the world safe for democracy. And when the war is over, though we have thwarted a greater evil than those which still afflict us, the relativity of the result fades out, the absoluteness of the present evil overcomes our spirit, and we feel that we are helpless because we have not been irresistible. Between omnipotence and impotence the pendulum swings.
Real s.p.a.ce, real time, real numbers, real connections, real weights are lost. The perspective and the background and the dimensions of action are clipped and frozen in the stereotype.
PART IV
INTERESTS
CHAPTER 11. THE ENLISTING OF INTEREST " 12. SELF-INTEREST RECONSIDERED
CHAPTER XI
THE ENLISTING OF INTEREST
I
BUT the human mind is not a film which registers once and for all each impression that comes through its shutters and lenses. The human mind is endlessly and persistently creative. The pictures fade or combine, are sharpened here, condensed there, as we make them more completely our own. They do not lie inert upon the surface of the mind, but are reworked by the poetic faculty into a personal expression of ourselves. We distribute the emphasis and partic.i.p.ate in the action.
In order to do this we tend to personalize quant.i.ties, and to dramatize relations. As some sort of allegory, except in acutely sophisticated minds, the affairs of the world are represented. Social Movements, Economic Forces, National Interests, Public Opinion are treated as persons, or persons like the Pope, the President, Lenin, Morgan or the King become ideas and inst.i.tutions. The deepest of all the stereotypes is the human stereotype which imputes human nature to inanimate or collective things.
The bewildering variety of our impressions, even after they have been censored in all kinds of ways, tends to force us to adopt the greater economy of the allegory. So great is the mult.i.tude of things that we cannot keep them vividly in mind. Usually, then, we name them, and let the name stand for the whole impression. But a name is porous. Old meanings slip out and new ones slip in, and the attempt to retain the full meaning of the name is almost as fatiguing as trying to recall the original impressions. Yet names are a poor currency for thought.
They are too empty, too abstract, too inhuman. And so we begin to see the name through some personal stereotype, to read into it, finally to see in it the incarnation of some human quality.
Yet human qualities are themselves vague and fluctuating. They are best remembered by a physical sign. And therefore, the human qualities we tend to ascribe to the names of our impressions, themselves tend to be visualized in physical metaphors. The people of England, the history of England, condense into England, and England becomes John Bull, who is jovial and fat, not too clever, but well able to take care of himself. The migration of a people may appear to some as the meandering of a river, and to others like a devastating flood. The courage people display may be objectified as a rock; their purpose as a road, their doubts as forks of the road, their difficulties as ruts and rocks, their progress as a fertile valley. If they mobilize their dread-naughts they unsheath a sword. If their army surrenders they are thrown to earth. If they are oppressed they are on the rack or under the harrow.
When public affairs are popularized in speeches, headlines, plays, moving pictures, cartoons, novels, statues or paintings, their transformation into a human interest requires first abstraction from the original, and then animation of what has been abstracted. We cannot be much interested in, or much moved by, the things we do not see. Of public affairs each of us sees very little, and therefore, they remain dull and unappetizing, until somebody, with the makings of an artist, has translated them into a moving picture. Thus the abstraction, imposed upon our knowledge of reality by all the limitations of our access and of our prejudices, is compensated. Not being omnipresent and omniscient we cannot see much of what we have to think and talk about. Being flesh and blood we will not feed on words and names and gray theory. Being artists of a sort we paint pictures, stage dramas and draw cartoons out of the abstractions.
Or, if possible, we find gifted men who can visualize for us. For people are not all endowed to the same degree with the pictorial faculty. Yet one may, I imagine, a.s.sert with Bergson that the practical intelligence is most closely adapted to spatial qualities. [Footnote: _Creative Evolution_, Chs. III, IV.] A "clear" thinker is almost always a good visualizer. But for that same reason, because he is "cinematographic," he is often by that much external and insensitive. For the people who have intuition, which is probably another name for musical or muscular perception, often appreciate the quality of an event and the inwardness of an act far better than the visualizer. They have more understanding when the crucial element is a desire that is never crudely overt, and appears on the surface only in a veiled gesture, or in a rhythm of speech.
Visualization may catch the stimulus and the result. But the intermediate and internal is often as badly caricatured by a visualizer, as is the intention of the composer by an enormous soprano in the sweet maiden"s part.
Nevertheless, though they have often a peculiar justice, intuitions remain highly private and largely incommunicable. But social intercourse depends on communication, and while a person can often steer his own life with the utmost grace by virtue of his intuitions, he usually has great difficulty in making them real to others. When he talks about them they sound like a sheaf of mist. For while intuition does give a fairer perception of human feeling, the reason with its spatial and tactile prejudice can do little with that perception.
Therefore, where action depends on whether a number of people are of one mind, it is probably true that in the first instance no idea is lucid for practical decision until it has visual or tactile value. But it is also true, that no visual idea is significant to us until it has enveloped some stress of our own personality. Until it releases or resists, depresses or enhances, some craving of our own, it remains one of the objects which do not matter.
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Pictures have always been the surest way of conveying an idea, and next in order, words that call up pictures in memory. But the idea conveyed is not fully our own until we have identified ourselves with some aspect of the picture. The identification, or what Vernon Lee has called empathy, [Footnote: _Beauty and Ugliness_.] may be almost infinitely subtle and symbolic. The mimicry may be performed without our being aware of it, and sometimes in a way that would horrify those sections of our personality which support our self-respect. In sophisticated people the partic.i.p.ation may not be in the fate of the hero, but in the fate of the whole idea to which both hero and villain are essential. But these are refinements.
In popular representation the handles for identification are almost always marked. You know who the hero is at once. And no work promises to be easily popular where the marking is not definite and the choice clear. [Footnote: A fact which bears heavily on the character of news.
_Cf_. Part VII.] But that is not enough. The audience must have something to do, and the contemplation of the true, the good and the beautiful is not something to do. In order not to sit inertly in the presence of the picture, and this applies as much to newspaper stories as to fiction and the cinema, the audience must be exercised by the image. Now there are two forms of exercise which far transcend all others, both as to ease with which they are aroused, and eagerness with which stimuli for them are sought. They are s.e.xual pa.s.sion and fighting, and the two have so many a.s.sociations with each other, blend into each other so intimately, that a fight about s.e.x outranks every other theme in the breadth of its appeal. There is none so engrossing or so careless of all distinctions of culture and frontiers.
The s.e.xual motif figures hardly at all in American political imagery.
Except in certain minor ecstasies of war, in an occasional scandal, or in phases of the racial conflict with Negroes or Asiatics, to speak of it at all would seem far-fetched. Only in moving pictures, novels, and some magazine fiction are industrial relations, business compet.i.tion, politics, and diplomacy tangled up with the girl and the other woman.
But the fighting motif appears at every turn. Politics is interesting when there is a fight, or as we say, an issue. And in order to make politics popular, issues have to be found, even when in truth and justice, there are none,--none, in the sense that the differences of judgment, or principle, or fact, do not call for the enlistment of pugnacity. [Footnote: _Cf_. Frances Taylor Patterson, _Cinema Craftsmanship_, pp. 31-32. "III. If the plot lacks suspense: 1. Add an antagonist, 2. Add an obstacle, 3. Add a problem, 4. Emphasize one of the questions in the minds of the spectator.,.."]
But where pugnacity is not enlisted, those of us who are not directly involved find it hard to keep up our interest. For those who are involved the absorption may be real enough to hold them even when no issue is involved. They may be exercised by sheer joy in activity, or by subtle rivalry or invention. But for those to whom the whole problem is external and distant, these other faculties do not easily come into play. In order that the faint image of the affair shall mean something to them, they must be allowed to exercise the love of struggle, suspense, and victory.
Miss Patterson [Footnote: _Op. cit._, pp. 6-7.] insists that "suspense... const.i.tutes the difference between the masterpieces in the Metropolitan Museum of Art and the pictures at the Rivoli or the Rialto Theatres." Had she made it clear that the masterpieces lack either an easy mode of identification or a theme popular for this generation, she would be wholly right in saying that this "explains why the people straggle into the Metropolitan by twos and threes and struggle into the Rialto and Rivoli by hundreds. The twos and threes look at a picture in the Art Museum for less than ten minutes--unless they chance to be art students, critics, or connoisseurs. The hundreds in the Rivoli or the Rialto look at the picture for more than an hour.
As far as beauty is concerned there can be no comparison of the merits of the two pictures. Yet the motion picture draws more people and holds them at attention longer than do the masterpieces, not through any intrinsic merit of its own, but because it depicts unfolding events, the outcome of which the audience is breathlessly waiting. It possesses the element of struggle, which never fails to arouse suspense."
In order then that the distant situation shall not be a gray flicker on the edge of attention, it should be capable of translation into pictures in which the opportunity for identification is recognizable.
Unless that happens it will interest only a few for a little while. It will belong to the sights seen but not felt, to the sensations that beat on our sense organs, and are not acknowledged. We have to take sides. We have to be able to take sides. In the recesses of our being we must step out of the audience on to the stage, and wrestle as the hero for the victory of good over evil. We must breathe into the allegory the breath of our life.
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And so, in spite of the critics, a verdict is rendered in the old controversy about realism and romanticism. Our popular taste is to have the drama originate in a setting realistic enough to make identification plausible and to have it terminate in a setting romantic enough to be desirable, but not so romantic as to be inconceivable. In between the beginning and the end the canons are liberal, but the true beginning and the happy ending are landmarks.
The moving picture audience rejects fantasy logically developed, because in pure fantasy there is no familiar foothold in the age of machines. It rejects realism relentlessly pursued because it does not enjoy defeat in a struggle that has become its own.
What will be accepted as true, as realistic, as good, as evil, as desirable, is not eternally fixed. These are fixed by stereotypes, acquired from earlier experiences and carried over into judgment of later ones. And, therefore, if the financial investment in each film and in popular magazines were not so exorbitant as to require instant and widespread popularity, men of spirit and imagination would be able to use the screen and the periodical, as one might dream of their being used, to enlarge and to refine, to verify and criticize the repertory of images with which our imaginations work. But, given the present costs, the men who make moving pictures, like the church and the court painters of other ages, must adhere to the stereotypes that they find, or pay the price of frustrating expectation. The stereotypes can be altered, but not in time to guarantee success when the film is released six months from now.
The men who do alter the stereotypes, the pioneering artists and critics, are naturally depressed and angered at managers and editors who protect their investments. They are risking everything, then why not the others? That is not quite fair, for in their righteous fury they have forgotten their own rewards, which are beyond any that their employers can hope to feel. They could not, and would not if they could, change places. And they have forgotten another thing in the unceasing war with Philistia. They have forgotten that they are measuring their own success by standards that artists and wise men of the past would never have dreamed of invoking. They are asking for circulations and audiences that were never considered by any artist until the last few generations. And when they do not get them, they are disappointed.
Those who catch on, like Sinclair Lewis in "Main Street," are men who have succeeded in projecting definitely what great numbers of other people were obscurely trying to say inside their heads. "You have said it for me." They establish a new form which is then endlessly copied until it, too, becomes a stereotype of perception. The next pioneer finds it difficult to make the public see Main Street any other way.
And he, like the forerunners of Sinclair Lewis, has a quarrel with the public.
This quarrel is due not only to the conflict of stereotypes, but to the pioneering artist"s reverence for his material. Whatever the plane he chooses, on that plane he remains. If he is dealing with the inwardness of an event he follows it to its conclusion regardless of the pain it causes. He will not tag his fantasy to help anyone, or cry peace where there is no peace. There is his America. But big audiences have no stomach for such severity. They are more interested in themselves than in anything else in the world. The selves in which they are interested are the selves that have been revealed by schools and by tradition. They insist that a work of art shall be a vehicle with a step where they can climb aboard, and that they shall ride, not according to the contours of the country, but to a land where for an hour there are no clocks to punch and no dishes to wash. To satisfy these demands there exists an intermediate cla.s.s of artists who are able and willing to confuse the planes, to piece together a realistic-romantic compound out of the inventions of greater men, and, as Miss Patterson advises, give "what real life so rarely does-the triumphant resolution of a set of difficulties; the anguish of virtue and the triumph of sin... changed to the glorifications of virtue and the eternal punishment of its enemy." [Footnote: _Op. cit._, p.
46. "The hero and heroine must in general possess youth, beauty, goodness, exalted self-sacrifice, and unalterable constancy."]
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