Fundamental Philosophy, Vol. 2 (of 2)

by Jaime Luciano Balmes

117. This internal activity, by which, at our will or caprice, we produce an indefinite number of representations, with an indefinite variety of forms, is an important phenomenon and one worthy of attention. It shows us that the productive activity is not limited to the purely intellectual order, since we detect it in the sensible order, not in any way whatever, but as unrolled on an infinite scale. Suppose a right line to be produced to infinity, besides it and in the same plane, we may infinite other lines; the variety of angles in which we may consider the position of the different lines will extend to the infinite; so that with right lines alone, the productive activity in the order of sensibility will know no limit. If we substitute curves for right lines, their combinations in form, in nature, in their respective positions and relations with determinate axes, will likewise be infinite: so that without quitting the sensible order, we discover within ourselves a force productive of infinite representations, and one needing no elements besides terminable or figurable extension.

118. The representative sensible faculty develops itself sometimes by the presence of an object; at other times, spontaneously, without any dependence on the will; and finally, at other times, in consequence of a free act. This is not the place to examine in what way the phenomenon of representation is connected with the affections of the corporeal organs; at present, we propose only to designate and explain facts in the ideological sphere, absolutely abstracting their physiological aspect.

Among the sensible representations just classified, which we may call passive, spontaneous, and free, there are differences worthy of observation.

119. Passive representation is given to the soul, independently of its activity. If we be placed in presence of an object, with our eyes open, it will be impossible not to see it, or even not to see it in a certain manner, if we do not change the direction of our eyesight or other condition of vision. For this reason, the soul seems, in the exercise of its senses, to be purely passive, since its representations necessarily depend on the conditions to which its corporeal organs in their relation to objects, are subject.

120. Spontaneous representation, or the faculty productive of sensible representations, seems also, since it operates independently of external objects and of the will, to be more or less passive, and its exercise to depend upon organic affections. And the fact that these sensations are wont to exist without any order, or at most, if they are recollections of old sensations, with that only which they had at another time, appears to indicate it. It is also worthy of note that these representations are sometimes offered to us, in spite of all the efforts of the will to dissipate and forget them: some are so tenacious as for a long time to triumph over all the resistance of freewill.

It is not easy to explain this phenomenon without recurring to organic causes, which, on determinate occasions, produce the same effect upon the soul, as the impressions of the external senses. It is certain that the internal representation reaches, in certain cases, so high a point of vividness, that the subject confounds it with the impressions of the senses. This can only be explained by saying that the interior organic affection has become so powerful, as to be equivalent to that which the impression of an object operating upon the external organ, could have caused.

121. In this spontaneous production it is to be remarked that present representations do not always correspond with others previously received; but a power of combination is developed in them from which result imaginary objects entirely new. This combination is sometimes exercised in a perfectly blind manner, and then follow extravagant results; but, at other times, this activity subjected to certain conditions produces, independently of free will, objects artistically beautiful and sublime.

Genius is nothing else than the spontaneity of the imagination and sentiment, developed in subordination to the conditions of the beautiful. Artists, not gifted with genius, do not lack strength of will to produce works of genius; nor are they wanting in imagination to reproduce a beautiful object if they have once seen it; they do not lack discernment and taste to distinguish and admire beautiful objects, nor are they ignorant of the rules of art or of all that can be said to explain the character of beauty; what they lack is that instinctively fine spontaneity which develops itself in the most recondite sinuosities of the soul, and far from being dependent upon the free will of its possessor, directs and domineers over him, pursues him in sleep as in the hours of waking, in the time of recreation as in that of business, and often consumes the very existence of the privileged man, as a furious fire bursts the sides of the frail cage that holds it.

122. Free production occurs when representations are offered to us by command of our will, and under the conditions it prescribes, as in works of art, and in the combinations of those figures which constitute the object of the science of geometry.