Harvard Psychological Studies, Volume 2

by Unknown

Statistics alone seem insignificant here. Each variety of affective experience in itself presents its own peculiar difficulties. In a great number of tests the affective phases of the experiences were all described in such terms as to suggest that too general a grouping of them would not mean much. Often when one thought, after a careful choice of the stimuli to be used, that the experiment would show that feelings whose prominent characteristics were those of excitement or tension, for example, were exerting an influence upon some other kind of feeling, introspection would reveal the fact that altogether other phases of the experience were the pronounced elements. Examples of what at first appeared to be capricious results illustrate the baffling nature of the problem here dealt with. Red is very pleasant. The oval with the bulging side is repulsive. This combination caused no marked retardation in the time required for a feeling-tone to develop. The blue, not so markedly pleasant alone, with the same bulging oval as its frame, had its feeling-tone changed, and the time-development quite perceptibly hastened. This same blue color with an upright oval as its frame produced a feeling-tone much more pleasant, also with marked hastening of the speed-development of its feeling-character. The pleasant-unpleasant dimension of the feeling clearly cannot alone furnish one with an explanation of these different phenomena. The red under normal conditions, i. e., if not influenced by either favorable or unfavorable coexisting feeling-tones, aroused its peculiar and not necessarily pervasive kind of physiological process. Likewise all our evidence goes to show that the feeling for blue is correlated with a peculiar physiological process, not so deeply seated in the organism, and not so satisfactorily coördinated, or "definite." Now the specific feeling-tone for forms arises when the imitative adjustment called for is successfully accomplished. In the first combination cited above the feeling-tone for red, being mild, soothing, more pervasive than blue, but lacking in the exciting character, is correlated with processes not so easily influenced by the reactions occasioned by the presented forms. Subjects say that it does not call for "surface reactions." It is less "intrusive." It does not "fall in with," nor does it strikingly oppose, the necessary reaction to the forms. Its influence upon the time-development of feeling-tones for accompanying stimuli is consequently small. This is not the case with the blue. The explanation, however, does not here differ in principle. This "volatile, unstable, indecisive, thin, or shallow" feeling, can be more easily influenced by the definite and decisive processes characteristic of the forms. It, indeed, needs something to determine its character, or coördinate its general reaction. Hence in both the above combinations the development period of the new feeling-tone for blue is shortened. The feeling reaches its maximum in either combination more quickly than when it occurs alone. As one should expect, fusion or mutual reënforcement quickens coördinated reaction; and partially independent coexistence, except where the contrast is sharp, serves as a condition for the lengthening of the latent period of feelings.

PART IV

It is beyond the province of this paper to report the accounts the subjects have attempted to give of the complex feelings aroused by the pictures of statues. The primary and limited purpose is to try to trace out the influences of the feelings before dealt with for colors when these are also present in some way related to the now complex æsthetic states. The Einfühlung, often reported for the simple forms, is here much more easily detected, if the statues arouse agreeable feelings. They "work themselves into the statue," or assume the position, or the facial expression if this is prominent, or feel very strongly in their own body what seems to be the most prominent element in the feeling portrayed by the figure. Few subjects liked all the statues. Incipient if not actual tendencies to motion of some sort, with the sensory counterparts to these situations called for when the subject feels that he is in the "proper attitude" to get most feeling from the presentations, chiefly constitute what was in different ways reported.

These statues presented on colors as backgrounds are variously and interestingly modified. The feeling-tones for colors distinctly affect the meaning of the statues. Of the above colors our shade of red is preferred with Venus by all subjects. Here the feeling-tones more nearly fuse. Always the feeling-character of the statue predominates, and the other feeling-elements of the situation are accepted or rejected in proportion as they harmonize or fail to harmonize with the predominant partial tone. Red, for example, here adds to the "richness and luxuriousness." It accentuates the strength, poise, grace, balance, ease, rest, wisdom, composure, endurance, and dignity. It is more soothing, and calls for no unnecessary action. One subject never liked any color as a background. In this case colors were good in proportion as "they kept out of the way." This is the reason for red being always preferred to yellow or green. With these latter colors there is an interplay of reactions not coöperating. The color-exciting element is more immediate, tension is brought about, the color asserts itself, is pleasant, and tends directly to inhibit the feelings for the statue. The pleasure in the color is called "thin" in comparison, and the power of sympathetic appreciation of Venus is lessened. There is suggestion now in the statue still of its strength, but with no "enduring" quality. It has become commonplace, merely a "pretty woman," jaunty, self-sufficient, cynical, and with little dignity. The motion element, now prominent, is not pertinent. The statue looks "cheap," and as a figure is volatile and unsteady.

In a similar way one finds these feeling-tones for colors variously playing their part. The statue of Apollo is not pleasing to some subjects. They want it "toned down." The red effects this. To some it is most pleasing by its suggestion of easy grace and springy, elastic step. The yellow harmonizes and accentuates this chosen feeling. The blue often destroys its moral meaning. The red hampers the feeling for the Laocoön group. They become listless, dead, and have still strength, but no struggle. Yellow increases the amount of activity, but often lessens the "serious despair." Fierceness is added, but the liveliness thus furnished is at the expense of the necessary balancing solemnity. The color again becomes intrusive. "The snakes fairly dance," and the "flashing action behind" the statue is now too prominent.

For the Dying Gladiator or Dying Alexander red is preferred. It, however, as do all the other colors, often produces an overbalance in the whole situation. Here it suggests no conflicting feelings. It adds—often too much—to the hopelessness of the situation, and gives to them an exaggerated solemnity and resignation, which emphasizes a melancholy cast, not altogether called for. Green and yellow are always incongruous. They tend to distract the attention to certain particular muscles, thereby lessening the whole general effect. The little "prettiness" they still retain is not called for, and is not "of the right sort." They do not allow one to be sufficiently contemplative or thoughtful. They have little depth, and cause inharmonious bodily commotions, and too much intensify the life-struggle and anguish.

The general effect of the statues here is much like that of the simple forms above. Both not only call for something to be done by the subject, but some action more or less already definitely outlined. The Einfühlung for little wooden figures, such as cones, columns, pyramids, etc., was clear and decided. The tipping character or the straight erectness caused a feeling which seemed describable in terms of the way in which the bodily position, as one naturally adapted himself to the object, took place. Statues afford richer experiences, but the principle is not different. They seem full of suggestions of abstractions, such as strength, wisdom, grace, beauty, power, and, in general, what are often called spiritual feelings. These are not so easily imitated in detail. Subjects have their own ways of adapting themselves. They want to carry out the suggestion or impulse in their own way. These impulses are projected into the figure, and all of the vigor inhibited in one's own body becomes a living part of the figure. The impulses thus from the colors may or may not be of such a character as to bring about the same proportionate adjustment as a desirable intensification equally of all the feeling-elements. Whether desirable or not, however, these feeling-combinations furnish additional illustrations of the various mutual relations of coexisting feelings.

The Angelus or the Shepherdess Knitting bring about feelings in striking contrast to the feeling for the Horse Fair picture. The latter arouses suggestions of a tumultuous bodily condition, increased muscular tonicity, muscles twitching everywhere, breathing heavier, shoulders strained, and in comparison, great general innervation. When the characteristic feeling had been aroused, the subjects were requested to close their eyes and observe if possible to what extent the feeling already aroused was dependent upon the retained images. The results were clear. If the feeling is slight, as it is for some subjects, the feeling tended to vanish and return with the recurring images. If it is fairly strong, the feeling persists for some time after visual imagery is lost. If very strong, the feeling is constant for a still longer period and still less dependent upon the original peripheral excitation. The feeling is always more constant than any imagery. Not often for example is the whole picture retained. Sometimes one prominent part only remains. Often again various kinds of imagery aid in preserving the feeling. Besides visual, auditory, the sounds of the horses' hoofs, of the tones of the Angelus bell, are chiefly prominent in preserving the situation and the condition for the feeling. Articulatory impulses again, in the tendency to repeat to one's self such words as are descriptive of the moral meaning of the pictures, offer sufficient clues to keep the desired feeling aroused. When the feeling has "struck deep," subjects report motor imagery pervading the whole system. In such cases the recurring visual imagery has little effect upon the feeling. On the whole, the feelings for the more quiet pictures last longer and are more easily retained than is the case with the more exciting ones, if the original feelings are, as to mere intensity, approximately equal.

The character and strength of these feeling-tones determine also to a large extent the lines of association followed. Here the mutual influences of feelings are clearly recognized. The character of the new associated images and situations is colored by the feelings which were connected with the original stimulations. The pictures, such, for example, as the Angelus and the Horse Fair, were presented to the subjects in quick succession. These were to be merely starting-points for association. For all the subjects who were able to report anything definite, the feeling-tone for one was read into the associations which were aroused by the other. The second of the two starting-points as a rule controls the imagery. A few examples will illustrate how both feeling-tones are retained. The Angelus was presented first in these cases, and the Horse Fair second.