Introduction to the Science of Sociology

by Robert Ezra Park; E. W. Burgess

Milling in the herd is a visible image of what goes on in subtler and less obvious ways in human societies. Alarms or discomforts frequently provoke social unrest. The very expression of this unrest tends to magnify it. The situation is a vicious circle. Every attempt to deal with it merely serves to aggravate it. Such a vicious circle we witnessed in our history from 1830 to 1861, when every attempt to deal with slavery served only to bring the inevitable conflict between the states nearer. Finally there transpired what had for twenty years been visibly preparing and the war broke.

Tolstoi in his great historical romance, War and Peace, describes, in a manner which no historian has equaled, the events that led up to the Franco-Russian War of 1812, and particularly the manner in which Napoleon, in spite of his efforts to avoid it, was driven by social forces over which he had no control to declare war on Russia, and so bring about his own downfall.

The condition under which France was forced by Bismarck to declare war on Prussia in 1870, and the circumstances under which Austria declared war on Serbia in 1914 and so brought on the world-war, exhibit the same fatal circle. In both cases, given the situation, the preparations that had been made, the resolutions formed and the agreements entered into, it seems clear that after a certain point had been reached every move was forced.

This is the most fundamental and elementary form of control. It is the control exercised by the mere play of elemental forces. These forces may, to a certain extent, be manipulated, as is true of other natural forces; but within certain limits, human nature being what it is, the issue is fatally determined, just as, given the circumstances and the nature of cattle, a stampede is inevitable. Historical crises are invariably created by processes which, looked at abstractly, are very much like milling in a herd. The vicious circle is the so-called "psychological factor" in financial depressions and panics and is, indeed, a factor in all collective action.

The effect of this circular form of interaction is to increase the tensions in the group and, by creating a state of expectancy, to mobilize its members for collective action. It is like the attention in the individual: it is the way in which the group prepares to act.

Back of every other form of control—ceremonial, public opinion, or law—there is always this interaction of the elementary social forces. What we ordinarily mean by social control, however, is the arbitrary intervention of some individual—official, functionary, or leader—in the social process. A policeman arrests a criminal, an attorney sways the jury with his eloquence, the judge passes sentence; these are the familiar formal acts in which social control manifests itself. What makes the control exercised in this way social, in the strict sense of that term, is the fact that these acts are supported by custom, law, and public opinion.

The distinction between control in the crowd and in other forms of society is that the crowd has no tradition. It has no point of reference in its own past to which its members can refer for guidance. It has therefore neither symbols, ceremonies, rites, nor ritual; it imposes no obligations and creates no loyalties.

Ceremonial is one method of reviving in the group a lively sense of the past. It is a method of reinstating the excitements and the sentiments which inspired an earlier collective action. The savage war dance is a dramatic representation of battle and as such serves to rouse and reawaken the warlike spirit. This is one way in which ceremonial becomes a means of control. By reviving the memories of an earlier war, it mobilizes the warriors for a new one.

Ernst Grosse, in The Beginnings of Art, has stated succinctly what has impressed all first-hand observers, namely, the important rôle which the dance plays in the lives of primitive peoples.

The dances of the hunting peoples are, as a rule, mass dances. Generally the men of the tribe, not rarely the members of several tribes, join in the exercises, and the whole assemblage then moves according to one law in one time. All who have described the dances have referred again and again to this "wonderful" unison of the movements. In the heat of the dance the several participants are fused together as into a single being, which is stirred and moved as by one feeling. During the dance they are in a condition of complete social unification, and the dancing group feels and acts like a single organism. The social significance of the primitive dance lies precisely in this effect of social unification. It brings and accustoms a number of men who, in their loose and precarious conditions of life, are driven irregularly hither and thither by different individual needs and desires, to act under one impulse with one feeling for one object. It introduces order and connection, at least occasionally, into the rambling, fluctuating life of the hunting tribes. It is, besides wars, perhaps the only factor that makes their solidarity vitally perceptible to the adherents of a primitive tribe, and it is at the same time one of the best preparations for war, for the gymnastic dances correspond in more than one respect to our military exercises. It would be hard to overestimate the importance of the primitive dance in the culture development of mankind. All higher civilization is conditioned upon the uniformly ordered co-operation of individual social elements, and primitive men are trained to this co-operation by the dance.[252]