What are the two problems left unsettled at the end of the Science of Language: "How do mere cries become phonetic types?" and "How can sensations be changed into concepts?" What are these two, if taken together, but the highest problem of all philosophy, viz., "What is the origin of reason?"

3. Writing as a Form of Communication[144]

The earliest stages of writing were those in which pictographic forms were used; that is, a direct picture was drawn upon the writing surface, reproducing as nearly as possible the kind of impression made upon the observer by the object itself. To be sure, the drawing used to represent the object was not an exact reproduction or full copy of the object, but it was a fairly direct image. The visual memory image was thus aroused by a direct perceptual appeal to the eye. Anyone could read a document written in this pictograph form, if he had ever seen the objects to which the pictures referred. There was no special relation between the pictures or visual forms at this stage of development and the sounds used in articulate language. Concrete examples of such writing are seen in early monuments, where the moon is represented by the crescent, a king by the drawing of a man wearing a crown.

The next stage of development in writing began when the pictographic forms were reduced in complexity to the simplest possible lines. The reduction of the picture to a few sketchy lines depended upon the growing ability of the reader to contribute the necessary interpretation. All that was needed in the figure was something which would suggest the full picture to the mind. Indeed, it is probably true that the full picture was not needed, even in the reader's consciousness. Memory images are usually much simplified reproductions of the perceptual facts. In writing we have a concrete expression of this tendency of memory to lose its full reproductive form and to become reduced to the point of the most meager contents for conscious thought. The simplification of the written forms is attained very early, and is seen even in the figures which are used by savage tribes. Thus, to represent the number of an enemy's army, it is not necessary to draw full figures of the forms of the enemy; it is enough if single straight lines are drawn with some brief indication, perhaps at the beginning of the series of lines, to show that these stand each for an individual enemy. This simplification of the drawing leaves the written symbol with very much larger possibilities of entering into new relations in the mind of the reader. Instead, now, of being a specific drawing related to a specific object, it invites by its simple character a number of different interpretations. A straight line, for example, can represent not only the number of an enemy's army but it can represent also the number of sheep in a flock, or the number of tents in a village, or anything else which is capable of enumeration. The use of a straight line for these various purposes stimulates new mental developments. This is shown by the fact that the development of the idea of the number relation, as distinguished from the mass of possible relations in which an object may stand, is greatly facilitated by this general written symbol for numbers. The intimate relation between the development of ideas on the one hand and the development of language on the other is here very strikingly illustrated. The drawing becomes more useful because it is associated with more elaborate ideas, while the ideas develop because they find in the drawing a definite content which helps to mark and give separate character to the idea.

As soon as the drawing began to lose its significance as a direct perceptual reproduction of the object and took on new and broader meanings through the associations which attached to it, the written form became a symbol, rather than a direct appeal to visual memory. As a symbol it stood for something which, in itself, it was not. The way was thus opened for the written symbol to enter into relation with oral speech, which is also a form of symbolism. Articulate sounds are simplified forms of experience capable through association with ideas of expressing meanings not directly related to the sounds themselves. When the written symbol began to be related to the sound symbol, there was at first a loose and irregular relation between them. The Egyptians seem to have established such relations to some extent. They wrote at times with pictures standing for sounds, as we now write in rebus puzzles. In such puzzles the picture of an object is intended to call up in the mind of the reader, not the special group of ideas appropriate to the object represented in the picture, but rather the sound which serves as the name of this object. When the sound is once suggested to the reader, he is supposed to attend to that and to connect with it certain other associations appropriate to the sound. To take a modern illustration, we may, for example, use the picture of the eye to stand for the first personal pronoun. The relationship between the picture and the idea for which it is used is in this case through the sound of the name of the object depicted. That the early alphabets are of this type of rebus pictures appears in their names. The first three letters of the Hebrew alphabet, for example, are named, respectively, aleph which means ox, beth which means house, and gimmel which means camel.

The complete development of a sound alphabet from this type of rebus writing required, doubtless, much experimentation on the part of the nations which succeeded in establishing the association. The Phoenicians have generally been credited with the invention of the forms and relations which we now use. Their contribution to civilization cannot be overestimated. It consisted, not in the presentation of new material or content to conscious experience, but rather in the bringing together by association of groups of contents which, in their new relation, transformed the whole process of thought and expression. They associated visual and auditory content and gave to the visual factors a meaning through association which was of such unique importance as to justify us in describing the association as a new invention.

There are certain systems of writing which indicate that the type of relationship which we use is not the only possible type of relationship. The Chinese, for example, have continued to use simple symbols which are related to complex sounds, not to elementary sounds, as are our own letters. In Chinese writing the various symbols, though much corrupted in form, stand each for an object. It is true that the forms of Chinese writing have long since lost their direct relationship to the pictures in which they originated. The present forms are simplified and symbolical. So free has the symbolism become that the form has been arbitrarily modified to make it possible for the writer to use freely the crude tools with which the Chinaman does his writing. These practical considerations could not have become operative, if the direct pictographic character of the symbols had not long since given place to a symbolical character which renders the figure important, not because of what it shows in itself, but rather because of what it suggests to the mind of the reader. The relation of the symbol to elementary sounds has, however, never been established. This lack of association with elementary sounds keeps the Chinese writing at a level much lower and nearer to primitive pictographic forms than is our writing.

Whether we have a highly elaborated symbolical system, such as that which appears in Chinese writing, or a form of writing which is related to sound, the chief fact regarding writing, as regarding all language, is that it depends for its value very much more upon the ideational relations into which the symbols are brought in the individual's mind than upon the impressions which they arouse.

The ideational associations which appear in developed language could never have reached the elaborate form which they have at present if there had not been social co-operation. The tendency of the individual when left to himself is to drop back into the direct adjustments which are appropriate to his own life. He might possibly develop articulation to a certain extent for his own sake, but the chief impulse to the development of language comes through intercourse with others. As we have seen, the development of the simplest forms of communication, as in animals, is a matter of social imitation. Writing is also an outgrowth of social relations. It is extremely doubtful whether even the child of civilized parents would ever have any sufficient motive for the development of writing, if it were not for the social encouragement he receives.

4. The Extension of Communication by Human Invention[145]

No one who is asked to name the agencies that weave the great web of intellectual and material influences and counter-influences by which modern humanity is combined into the unity of society will need much reflection to give first rank to the newspaper, along with the post, railroad, and telegraph.

In fact, the newspaper forms a link in the chain of modern commercial machinery; it is one of those contrivances by which in society the exchange of intellectual and material goods is facilitated. Yet it is not an instrument of commercial intercourse in the sense of the post or the railway, both of which have to do with the transport of persons, goods, and news, but rather in the sense of the letter and circular. These make the news capable of transport only because they are enabled by the help of writing and printing to cut it adrift, as it were, from its originator and give it corporeal independence.

However great the difference between letter, circular, and newspaper may appear today, a little reflection shows that all three are essentially similar products, originating in the necessity of communicating news and in the employment of writing in its satisfaction. The sole difference consists in the letter being addressed to individuals, the circular to several specified persons, the newspaper to many unspecified persons. Or, in other words, while letter and circular are instruments for the private communication of news, the newspaper is an instrument for its publication.

Today we are, of course, accustomed to the regular printing of the newspaper and its periodical appearance at brief intervals. But neither of these is an essential characteristic of the newspaper as a means of news publication. On the contrary, it will become apparent directly that the primitive paper from which this mighty instrument of commercial intercourse is sprung appeared neither in printed form nor periodically, but that it closely resembled the letter from which, indeed, it can scarcely be distinguished. To be sure, repeated appearance at brief intervals is involved in the very nature of news publication. For news has value only so long as it is fresh; and to preserve for it the charm of novelty its publication must follow in the footsteps of the events. We shall, however, soon see that the periodicity of these intervals, as far as it can be noticed in the infancy of journalism, depended upon the regular recurrence of opportunities to transport the news, and was in no way connected with the essential nature of the newspaper.

The regular collection and despatch of news presupposes a widespread interest in public affairs, or an extensive area of trade exhibiting numerous commercial connections and combinations of interest, or both at once. Such interest is not realized until people are united by some more or less extensive political organization into a certain community of life-interest. The city republics of ancient times required no newspaper; all their needs of publication could be met by the herald and by inscriptions, as occasion demanded. Only when Roman supremacy had embraced or subjected to its influence all the countries of the Mediterranean was there need of some means by which those members of the ruling class who had gone to the provinces as officials, tax-farmers, and in other occupations, might receive the current news of the capital. It is significant that Caesar, the creator of the military monarchy and of the administrative centralization of Rome, is regarded as the founder of the first contrivance resembling a newspaper.

Indeed, long before Caesar's consulate it had become customary for Romans in the provinces to keep one or more correspondents at the capital to send them written reports on the course of political movement and on other events of the day. Such a correspondent was generally an intelligent slave or freedman intimately acquainted with affairs at the capital, who, moreover, often made a business of reporting for several. He was thus a species of primitive reporter, differing from those of today only in writing, not for a newspaper, but directly for readers. On recommendation of their employers, these reporters enjoyed at times admission even to the senate discussions. Antony kept such a man, whose duty it was to report to him not merely on the senate's resolutions but also on the speeches and votes of the senators. Cicero, when proconsul, received through his friend, M. Caelius, the reports of a certain Chrestus, but seems not to have been particularly well satisfied with the latter's accounts of gladiatorial sports, law-court proceedings, and the various pieces of city gossip. As in this case, such correspondence never extended beyond a rude relation of facts that required supplementing through letters from party friends of the absent person. These friends, as we know from Cicero, supplied the real report on political feeling.

The innovation made by Caesar consisted in instituting the publication of a brief record of the transactions and resolutions of the senate, and in his causing to be published the transactions of the assemblies of the plebs, as well as other important matters of public concern.

The Germanic peoples who, after the Romans, assumed the lead in the history of Europe were neither in civilization nor in political organization fitted to maintain a similar constitution of the news service; nor did they require it. All through the Middle Ages the political and social life of men was bounded by a narrow horizon; culture retired to the cloisters and for centuries affected only the people of prominence. There were no trade interests beyond the narrow walls of their own town or manor to draw men together. It is only in the later centuries of the Middle Ages that extensive social combinations once more appear. It is first the church, embracing with her hierarchy all the countries of Germanic and Latin civilization, next the burgher class with its city confederacies and common trade interests, and, finally, as a counter-influence to these, the secular territorial powers, who succeed in gradually realizing some form of union. In the twelfth and thirteenth centuries we notice the first traces of an organized service for transmission of news and letters in the messengers of monasteries, the universities, and the various spiritual dignitaries; in the fourteenth and fifteenth centuries we have advanced to a comprehensive, almost postlike, organization of local messenger bureaus for the epistolary intercourse of traders and of municipal authorities. And now, for the first time, we meet with the word Zeitung, or newspaper. The word meant originally that which was happening at the time (Zeit = "time"), a present occurrence; then information on such an event, a message, a report, news.

Venice was long regarded as the birthplace of the newspaper in the modern acceptation of the word. As the channel of trade between the East and the West, as the seat of a government that first organized the political news service and the consular system in the modern sense, the old city of lagoons formed a natural collecting center for important news items from all lands of the known world. Even early in the fifteenth century, as has been shown by the investigations of Valentinelli, the librarian of St. Mark's Library, collections of news had been made at the instance of the council of Venice regarding events that had either occurred within the republic or been reported by ambassadors, consuls, and officials, by ships' captains, merchants, and the like. These were sent as circular despatches to the Venetian representatives abroad to keep them posted on international affairs. Such collections of news were called fogli d'avvisi.

The further development of news publication in the field that it has occupied since the more general adoption of the printing-press has been peculiar. At the outset the publisher of a periodical printed newspaper differed in no wise from the publisher of any other printed work—for instance, of a pamphlet or a book. He was but the multiplier and seller of a literary product, over whose content he had no control. The newspaper publisher marketed the regular post-news in its printed form just as another publisher offered the public a herbal or an edition of an old writer.

But this soon changed. It was readily perceived that the contents of a newspaper number did not form an entity in the same sense as the contents of a book or pamphlet. The news items there brought together, taken from different sources, were of varying reliability. They needed to be used judicially and critically: in this a political or religious bias could find ready expression. In a still higher degree was this the case when men began to discuss contemporary political questions in the newspapers and to employ them as a medium for disseminating party opinions.

This took place first in England during the Long Parliament and the Revolution of 1640. The Netherlands and a part of the imperial free towns of Germany followed later. In France the change was not consummated before the era of the great Revolution: in most other countries it occurred in the nineteenth century. The newspaper, from being a mere vehicle for the publication of news, became an instrument for supporting and shaping public opinion and a weapon of party politics.

The effect of this upon the internal organization of the newspaper undertaking was to introduce a third department, the editorship, between news collecting and news publication. For the newspaper publisher, however, it signified that from a mere seller of news he had become a dealer in public opinion as well.

At first this meant nothing more than that the publisher was placed in a position to shift a portion of the risk of his undertaking upon a party organization, a circle of interested persons, or a government. If the leanings of the paper were distasteful to the readers, they ceased to buy the paper. Their wishes thus remained, in the final analysis, the determining factor for the contents of the newspapers.

The gradually expanding circulation of the printed newspapers nevertheless soon led to their employment by the authorities for making public announcements. With this came, in the first quarter of the last century, the extension of private announcements, which have now attained, through the so-called advertising bureaus, some such organization as political news-collecting possesses in the correspondence bureaus.

The modern newspaper is a capitalistic enterprise, a sort of news-factory in which a great number of people (correspondents, editors, typesetters, correctors, machine-tenders, collectors of advertisements, office clerks, messengers, etc.) are employed on wage, under a single administration, at very specialized work. This paper produces wares for an unknown circle of readers, from whom it is, furthermore, frequently separated by intermediaries, such as delivery agencies and postal institutions. The simple needs of the reader or of the circle of patrons no longer determine the quality of these wares; it is now the very complicated conditions of competition in the publication market. In this market, however, as generally in wholesale markets, the consumers of the goods, the newspaper readers, take no direct part; the determining factors are the wholesale dealers and the speculators in news: the governments, the telegraph bureaus dependent upon their special correspondents, the political parties, artistic and scientific cliques, men on 'change, and, last but not least, the advertising agencies and large individual advertisers.

Each number of a great journal which appears today is a marvel of economic division of labor, capitalistic organization, and mechanical technique; it is an instrument of intellectual and economic intercourse, in which the potencies of all other instruments of commerce—the railway, the post, the telegraph, and the telephone—are united as in a focus.

D. IMITATION

1. Definition of Imitation[146]

The term "imitation" is used in ordinary language to designate any repetition of any act or thought which has been noted by an observer. Thus one imitates the facial expression of another, or his mode of speech. The term has been brought into prominence in scientific discussions through the work of Gabriel Tarde, who in his Les lois de l'imitation points out that imitation is a fundamental fact underlying all social development. The customs of society are imitated from generation to generation. The fashions of the day are imitated by large groups of people without any consciousness of the social solidarity which is derived from this common mode of behavior. There is developed through these various forms of imitation a body of experiences which is common to all of the members of a given social group. In complex society the various imitations which tend to set themselves up are frequently found to be in conflict; thus the tendency toward elaborate fashions in dress is constantly limited by the counter-tendency toward simpler fashions. The conflict of tendencies leads to individual variations from the example offered at any given time, and, as a result, there are new examples to be followed. Complex social examples are thus products of conflict.

This general doctrine of Tarde has been elaborated by a number of recent writers. Royce calls attention to the fundamental importance of imitation as a means of social inheritance. The same doctrine is taken up by Baldwin in his Mental Development in the Child and Race, and in Social and Ethical Interpretations. With these later writers, imitation takes on a significance which is somewhat technical and broader than the significance which it has either with Tarde or in the ordinary use of the term. Baldwin uses the term to cover that case in which an individual repeats an act because he has himself gone through the act. In such a case one imitates himself and sets up what Baldwin terms a circular reaction. The principle of imitation is thus introduced into individual psychology as well as into general social psychology, and the relation between the individual's acts and his own imagery is brought under the same general principle as the individual's responses to his social environment. The term "imitation" in this broader sense is closely related to the processes of sympathy.

The term "social heredity" has very frequently been used in connection with all of the processes here under discussion. Society tends to perpetuate itself in the new individual in a fashion analogous to that in which the physical characteristics of the earlier generation tend to perpetuate themselves in the physical characteristics of the new generation. Since modes of behavior, such as acts of courtesy, cannot be transmitted through physical structure, they would tend to lapse if they were not maintained through imitation from generation to generation. Thus imitation gives uniformity to social practices and consequently is to be treated as a form of supplementary inheritance extending beyond physical inheritance and making effective the established forms of social practice.

2. Attention, Interest, and Imitation[147]

Imitation is a process of very great importance for the development of mental life in both men and animals. In its more complex forms it presupposes trains of ideas; but in its essential features it is present and operative at the perceptual level. It is largely through imitation that the results of the experience of one generation are transmitted to the next, so as to form the basis for further development. Where trains of ideas play a relatively unimportant part, as in the case of animals, imitation may be said to be the sole form of social tradition. In the case of human beings, the thought of past generations is embodied in language, institutions, machinery, and the like. This distinctively human tradition presupposes trains of ideas in past generations, which so mold the environment of a new generation that in apprehending and adapting itself to this environment it must re-think the old trains of thought. Tradition of this kind is not found in animal life, because the animal mind does not proceed by way of trains of ideas. None the less, the more intelligent animals depend largely on tradition. This tradition consists essentially in imitation by the young of the actions of their parents, or of other members of the community in which they are born. The same directly imitative process, though it is very far from forming the whole of social tradition in human beings, forms a very important part of it.

a) The imitative impulse.—We must distinguish between ability to imitate and impulse to imitate. We may be already fully able to perform an action, and the sight of it as performed by another may merely prompt us to reproduce it. But the sight of an act performed by another may also have an educational influence; it may not only stimulate us to do what we are already able to do without its aid; it may also enable us to do what we could not do without having an example to follow. When the cough of one man sets another coughing, it is evident that imitation here consists only in the impulse to follow suit. The second man does not learn how to cough from the example of the first. He is simply prompted to do on this particular occasion what he is otherwise quite capable of doing. But if I am learning billiards and someone shows me by his own example how to make a particular stroke, the case is different. It is not his example which in the first instance prompts me to the action. He merely shows the way to do what I already desire to do.

We have then first to discuss the nature of the imitative impulse—the impulse to perform an action which arises from the perception of it as performed by another.

This impulse is an affair of attentive consciousness. The perception of an action prompts us to reproduce it when and so far as it excites interest or is at least intimately connected with what does excite interest. Further, the interest must be of such a nature that it is more fully gratified by partially or wholly repeating the interesting action. Thus imitation is a special development of attention. Attention is always striving after a more vivid, more definite, and more complete apprehension of its object. Imitation is a way in which this endeavor may gratify itself when the interest in the object is of a certain kind. It is obvious that we do not try to imitate all manner of actions, without distinction, merely because they take place under our eyes. What is familiar and commonplace or what for any other reason is unexciting or insipid fails to stir us to re-enact it. It is otherwise with what is strikingly novel or in any way impressive, so that our attention dwells on it with relish or fascination. It is, of course, not true that whatever act fixes attention prompts to imitation. This is only the case where imitation helps attention, where it is, in fact, a special development of attention. This is so when interest is directly concentrated on the activity itself for its own sake rather than for the sake of its possible consequences and the like ulterior motives. But it is not necessary that the act in itself should be interesting; in a most important class of cases the interest centers, not directly in the external act imitated, but in something else with which this act is so intimately connected as virtually to form a part of it. Thus there is a tendency to imitate not only interesting acts but also the acts of interesting persons. Men are apt to imitate the gestures and modes of speech of those who excite their admiration or affection or some other personal interest. Children imitate their parents or their leaders in the playground. Even the mannerisms and tricks of a great man are often unconsciously copied by those who regard him as a hero. In such instances the primary interest is in the whole personality of the model; but this is more vividly and distinctly brought before consciousness by reproducing his external peculiarities. Our result, then, is that interest in an action prompts to imitation in proportion to its intensity, provided the interest is of a kind which will be gratified or sustained by imitative activity.

b) Learning by imitation.—Let us now turn to the other side of the question. Let us consider the case in which the power of performing an action is acquired in and by the process of imitation itself. Here there is a general rule which is obvious when once it is pointed out. It is part of the still more general rule that "to him that hath shall be given." Our power of imitating the activity of another is strictly proportioned to our pre-existing power of performing the same general kind of action independently. For instance, one devoid of musical faculty has practically no power of imitating the violin playing of Joachim. Imitation may develop and improve a power which already exists, but it cannot create it. Consider the child beginning for the first time to write in a copybook. He learns by imitation; but it is only because he has already some rudimentary ability to make such simple figures as pothooks that the imitative process can get a start. At the outset, his pothooks are very unlike the model set before him. Gradually he improves; increased power of independent production gives step by step increased power of imitation, until he approaches too closely the limits of his capacity in this direction to make any further progress of an appreciable kind.

But this is an incomplete account of the matter. The power of learning by imitation is part of the general power of learning by experience; it involves mental plasticity. An animal which starts life with congenital tendencies and aptitudes of a fixed and stereotyped kind, so that they admit of but little modification in the course of individual development, has correspondingly little power of learning by imitation.

At higher levels of mental development the imitative impulse is far less conspicuous because impulsive activity in general is checked and overruled by activity organized in a unified system. Civilized men imitate not so much because of immediate interest in the action imitated as with a view to the attainment of desirable results.

3. The Three Levels of Sympathy[148]

Sympathy is not an instinct or a tendency, i.e., a group of co-ordinated movements adapted to a particular end, and showing itself in consciousness as an emotion, such as fear, anger, sex attraction; it is, on the contrary, a highly generalized psycho-physiological property. To the specialized character of each emotion it opposes a character of almost unlimited plasticity. We have not to consider it under all its aspects but as one of the most important manifestations of emotional life, as the basis of the tender emotions, and one of the foundations of social and moral existence.

a) The first phase.—In its primitive form sympathy is reflex, automatic, unconscious, or very slightly conscious; it is, according to Bain, the tendency to produce in ourselves an attitude, a state, a bodily movement which we perceive in another person. This is imitation in its most rudimentary form. Between sympathy and imitation, at any rate in this primitive period, I see only one difference of aspect: sympathy everywhere marks the passive, receptive side of the phenomenon; imitation, its active and motor side.

It manifests itself in animals forming aggregates (not societies), such as a flock of sheep, or a pack of dogs who run, stop, bark all at the same time, through a purely physical impulse of imitation; in man, infectious laughter or yawning, walking in step, imitating the movements of a rope-walker while watching him, feeling a shock in one's legs when one sees a man falling, and a hundred other occurrences of this kind are cases of physiological sympathy. It plays a great part in the psychology of crowds, with their rapid attacks and sudden panics. In nervous diseases, there is a superfluity of examples: epidemics of hysteric fits, convulsive barking, hiccup, etc. I omit the mental maladies (epidemics of suicide, double or triple madness) since we are only considering the purely physiological stage.

To sum up, sympathy is originally a property of living matter: as there is an organic memory and an organic sensitiveness, being those of the tissues and ultimate elements which compose them, there is an organic sympathy, made up of receptivity and imitative movements.

b) The second phase.—The next phase is that of sympathy in the psychological sense, necessarily accompanied by consciousness; it creates in two or more individuals analogous emotional states. Such are the cases in which we say that fear, indignation, joy, or sorrow are communicated. It consists in feeling an emotion existing in another, and is revealed to us by its physiological expression. This phase consists of two stages.

(1) The first might be defined as psychological unison. If, during this period of unison, we could read the minds of those who sympathize, we should see a single emotional fact reflected in the consciousness of several individuals. L. Noire, in his book, Ursprung der Sprache, has proposed the theory that language originated in community of action among the earliest human beings. When working, marching, dancing, rowing, they uttered (according to this writer) sounds which became the appellatives of these different actions, or of various objects; and these sounds, being uttered by all, must have been understood by all. Whether this theory be correct or not (it has been accepted as such by Max Mueller), it will serve as an illustration. But this state of sympathy does not by itself constitute a tie of affection or tenderness between those who feel it; it only prepares the way for such an emotion. It may be the basis of a certain social solidarity, because the same internal states excite the same acts of a mechanical, exterior, non-moral solidarity.

(2) The second stage is that of sympathy, in the restricted and popular sense of the word. This consists of psychological unison, plus a new element: there is added another emotional manifestation, tender emotion (benevolence, sympathy, pity, etc.). It is no longer sympathy pure and simple, it is a binary compound. The common habit of considering phenomena only under their higher and complete forms often misleads us as to their origin and constitution. Moreover, in order to understand that this is a case of duality—the fusion of two distinct elements—and that our analysis is not a factitious one, it is sufficient to point out that sympathy (in the etymological sense) may exist without any tender emotion—nay, that it may exclude instead of excite it. According to Lubbock, while ants carry away their wounded, bees—though forming a society—are indifferent toward each other. It is well known that gregarious animals nearly always shun and desert a wounded member of the herd. Among men, how many there are who, when they see suffering, hasten to withdraw themselves from the spectacle, in order to escape the pain which it sympathetically awakens in them. This impulse may go to the length of aversion, as typified by Dives in the Gospel. It is therefore a complete psychological error to consider sympathy as capable, unaided, of delivering men from egoism; it only takes the first step, and not always that.

c) The third phase.—Under its intellectual form, sympathy is an agreement in feelings and actions, founded on unity of representation. The law of development is summed up in Spencer's formula, "The degree and range of sympathy depend on the clearness and extent of representation." I should, however, add: on condition of being based on an emotional temperament. This last is the source par excellence of sympathy, because it vibrates like an echo; the active temperament lends itself less to such impulses, because it has so much to do in manifesting its own individuality that it can scarcely manifest those of others; finally, the phlegmatic temperament does so least of all, because it presents a minimum of emotional life; like Leibnitz' monads, it has no windows.

In passing from the emotional to the intellectual phase, sympathy gains in extent and stability. In fact, emotional sympathy requires some analogy in temperament or nature; it can scarcely be established between the timid and the daring, between the cheerful and the melancholic; it may be extended to all human beings and to the animals nearest us, but not beyond them. On the contrary, it is the special attribute of intelligence to seek resemblances or analogies everywhere, to unify; it embraces the whole of nature. By the law of transfer (which we have already studied) sympathy follows this invading march and comprehends even inanimate objects, as in the case of the poet, who feels himself in communion with the sea, the woods, the lakes, or the mountains. Besides, intellectual sympathy participates in the relative fixity of representation; we find a simple instance of this in animal societies, such as those of the bees, where unity or sympathy among the members is only maintained by the perception or representation of the queen.

4. Rational Sympathy[149]

As we have no immediate experience of what other men feel, we can form no idea of the manner in which they are affected but by conceiving what we ourselves should feel in the like situation. Though our brother is upon the rack, as long as we ourselves are at our ease our senses will never inform us of what he suffers. They never did, and never can, carry us beyond our own person, and it is by the imagination only that we can form any conception of what are his sensations. Neither can that faculty help us to this any other way than by representing to us what would be our own, if we were in his case. It is the impressions of our own senses only, not those of his, which our imaginations copy. By the imagination we place ourselves in his situation, we conceive ourselves enduring all the same torments, we enter as it were into his body and become in some measure the same person with him, and thence form some idea of his sensations, and even feel something which, though weaker in degree, is not altogether unlike them. His agonies, when they are thus brought home to ourselves, when we have thus adopted and made them our own, begin at last to affect us, and we then tremble and shudder at the thought of what he feels. For, as to be in pain or distress of any kind excites the most excessive sorrow, so to conceive or to imagine that we are in it excites some degree of the same emotion, in proportion to the vivacity or dulness of the conception.

That this is the source of our fellow-feeling for the misery of others, that it is by changing places in fancy with the sufferer that we come either to conceive or to be affected by what he feels, may be demonstrated by many obvious observations, if it should not be thought sufficiently evident of itself. When we see a stroke aimed, and just ready to fall upon the leg or arm of another person, we naturally shrink and draw back our own leg or our own arm; and when it does fall, we feel it in some measure and are hurt by it as well as the sufferer. The mob, when they are gazing at a dancer on the slack rope, naturally writhe and twist and balance their own bodies as they see him do, and as they feel that they themselves must do if in his situation. Persons of delicate fibers and a weak constitution of body complain that in looking on the sores and ulcers which are exposed by beggars in the streets they are apt to feel an itching or uneasy sensation in the corresponding part of their own bodies. The horror which they conceive at the misery of those wretches affects that particular part in themselves more than any other because that horror arises from conceiving what they themselves would suffer if they really were the wretches whom they are looking upon, and if that particular part in themselves was actually affected in the same miserable manner. The very force of this conception is sufficient, in their feeble frames, to produce that itching or uneasy sensation complained of. Men of the most robust make observe that in looking upon sore eyes they often feel a very sensible soreness in their own, which proceeds from the same reason; that organ, being in the strongest man more delicate than any other part of the body, is the weakest.

Upon some occasions sympathy may seem to arise merely from the view of a certain emotion in another person. The passions upon some occasions may seem to be transfused from one man to another instantaneously and antecedent to any knowledge of what excited them in the person principally concerned. Grief and joy, for example, strongly expressed in the look and gestures of any person at once affect the spectator with some degree of a like painful or agreeable emotion. A smiling face is, to everybody that sees it, a cheerful object, as a sorrowful countenance, on the other hand, is a melancholy one.

This, however, does not hold universally, or with regard to every passion. There are some passions of which the expressions excite no sort of sympathy, but, before we are acquainted with what gave occasion to them, serve rather to disgust and provoke us against them. The furious behavior of an angry man is more likely to exasperate us against himself than against his enemies. As we are unacquainted with his provocation, we cannot bring his case home to ourselves, nor conceive anything like the passions which it excites. But we plainly see what is the situation of those with whom he is angry, and to what violence they may be exposed from so enraged an adversary. We readily, therefore, sympathize with their fear or resentment, and are immediately disposed to take part against the man from whom they appear to be in danger.

If the very appearances of grief and joy inspire us with some degree of the like emotions, it is because they suggest to us the general idea of some good or bad fortune that has befallen the person in whom we observe them: and in these passions this is sufficient to have some little influence upon us. The effects of grief and joy terminate in the person who feels these emotions, of which the expressions do not, like those of resentment, suggest to us the idea of any other person for whom we are concerned and whose interests are opposite to his. The general idea of good or bad fortune, therefore, creates some concern for the person who has met with it; but the general idea of provocation excites no sympathy with the anger of the man who has received it. Nature, it seems, teaches us to be more averse to enter into this passion, and, till informed of its cause, to be disposed rather to take part against it.

Even our sympathy with the grief or joy of another, before we are informed of the cause of either, is always extremely imperfect. General lamentations, which express nothing but the anguish of the sufferer, create rather a curiosity to inquire into his situation, along with some disposition to sympathize with him, than any actual sympathy that is very sensible. The first question which we ask is, What has befallen you? Till this be answered, though we are uneasy both from the vague idea of his misfortune and still more from torturing ourselves with conjectures about what it may be, yet our fellow-feeling is not very considerable.

Sympathy, therefore, does not arise so much from the view of the passion as from that of the situation which excites it. We sometimes feel for another a passion of which he himself seems to be altogether incapable, because, when we put ourselves in his case, that passion arises in our breast from the imagination, though it does not in his from the reality. We blush for the impudence and rudeness of another, though he himself appears to have no sense of the impropriety of his own behavior, because we cannot help feeling with what confusion we ourselves should be covered, had we behaved in so absurd a manner.

Of all the calamities to which the condition of mortality exposes mankind, the loss of reason appears, to those who have the least spark of humanity, by far the most dreadful; and they behold that last stage of human wretchedness with deeper commiseration than any other. But the poor wretch who is in it laughs and sings, perhaps, and is altogether insensible to his own misery. The anguish which humanity feels, therefore, at the sight of such an object cannot be the reflection of any sentiment of the sufferer. The compassion of the spectator must arise altogether from the consideration of what he himself would feel if he was reduced to the same unhappy situation, and, what perhaps is impossible, was at the same time able to regard it with his present reason and judgment.

What are the pangs of a mother when she hears the meanings of her infant, that, during the agony of disease, cannot express what it feels? In her idea of what it suffers, she joins to its real helplessness her own consciousness of that helplessness and her own terrors for the unknown consequences of its disorder; and, out of all these, forms for her own sorrow the most complete image of misery and distress. The infant, however, feels only the uneasiness of the present instant, which can never be great. With regard to the future it is perfectly secure in its thoughtlessness and want of anxiety, the great tormentors of the human breast, from which reason and philosophy will in vain attempt to defend it when it grows up to a man.

But whatever may be the cause of sympathy, or however it may be excited, nothing pleases us more than to observe in other men a fellow-feeling with all the emotions of our own breast; nor are we ever so much shocked as by the appearance of the contrary. Those who are fond of deducing all our sentiments from certain refinements of self-love think themselves at no loss to account, according to their own principles, both for this pleasure and for this pain. Man, say they, conscious of his own weakness and of the need which he has for the assistance of others, rejoices whenever he observes that they adopt his own passions because he is then assured of that assistance and grieves whenever he observes the contrary, because he is then assured of their opposition. But both the pleasure and the pain are always felt so instantaneously, and often upon such frivolous occasions, that it seems evident that neither of them can be derived from any such self-interested consideration. A man is mortified when, after having endeavored to divert the company, he looks round and sees that nobody laughs at his jests but himself. On the contrary, the mirth of the company is highly agreeable to him and he regards this correspondence of their sentiments with his own as the greatest applause.

5. Art, Imitation, and Appreciation[150]

The investigation into the psychology of masses, as well as the experiments on suggestive therapeutics, have proved to how great an extent mental states may be transmitted from individual to individual by unconscious imitation of the accompanying movements. The doctrine of universal sympathy, a clear statement of which was given long ago in the ethical theory of Adam Smith, has thus acquired a psychological justification in the modern theories of imitative movement. Contemporary science has at last learned to appreciate the fundamental importance of imitation for the development of human culture. And some authors have even gone so far as to endeavor to deduce all sociological laws from this one principle. At the same time natural history has begun to pay more and more attention to the indispensability of imitation for the full development of instincts, as well as for training in those activities which are the most necessary in life.

It is fortunate for the theory of art that the importance of the imitative functions has thus been simultaneously acknowledged in various departments of science. Whatever one may think of the somewhat audacious generalizations which have been made in the recent application of this new principle, it is incontestable that the aesthetic activities can be understood and explained only by reference to the universal tendency to imitate. It is also significant that writers on aesthetic had felt themselves compelled to set up a theory of imitation long before experimental psychologists had begun to turn their attention in this direction. In Germany the enjoyment of form and form-relations has, since Vischer's time, been interpreted as the result of the movements by which, not only our eye, but also our whole body follows the outlines of external things. In France Jouffroy stated the condition for the receiving of aesthetic impressions to be a "power of internally imitating the states which are externally manifested in living nature." In England, finally, Vernon Lee and Anstruther Thompson have founded a theory of beauty and ugliness upon this same psychical impulse to copy in our own unconscious movements the forms of objects. And in the writings of, for instance, Home, Hogarth, Dugald Stewart, and Spencer, there can be found a multitude of isolated remarks on the influence which is in a direct way exercised on our mental life by the perception of lines and forms.

In most of these theories and observations, however, the imitative activity has been noticed only in so far as it contributes to the aesthetic delight which may be derived from sensual impressions. But its importance is by no means so restricted as this; on the contrary, we believe it to be a fundamental condition for the existence of intuition itself. Without all these imperceptible tracing movements with which our body accompanies the adaptation of the eye-muscles to the outlines of external objects, our notions of depth, height, and distance, and so on, would certainly be far less distinct than they are. On the other hand, the habit of executing such movements has, so to say, brought the external world within the sphere of the internal. The world has been measured with man as a standard, and objects have been translated into the language of mental experience. The impressions have hereby gained, not only in emotional tone, but also in intellectual comprehensibility.

Greater still is the importance of imitation for our intuition of moving objects. And a difficult movement itself is fully understood only when it has been imitated, either internally or in actual outward activity. The idea of a movement, therefore, is generally associated with an arrested impulse to perform it. Closer introspection will show everyone to how great a part our knowledge, even of persons, is built up of motor elements. By unconscious and imperceptible copying in our own body the external behavior of a man, we may learn to understand him with benevolent or malevolent sympathy. And it will, no doubt, be admitted by most readers that the reason why they know their friends and foes better than they know anyone else is that they carry the remembrance of them not only in their eyes, but in their whole body. When in idle moments we find the memory of an absent friend surging up in our minds with no apparent reason, we may often note, to our astonishment, that we have just been unconsciously adopting one of his characteristic attitudes, or imitating his peculiar gestures or gait.

It may, however, be objected that the above-mentioned instances refer only to a particular class of individuals. In other minds, it will be said, the world-picture is entirely built up of visual and acoustic elements. It is also impossible to deny that the classification of minds in different types, which modern psychology has introduced, is as legitimate as it is advantageous for the purposes of research. But we can hardly believe that such divisions have in view anything more than a relative predominance of the several psychical elements. It is easily understood that a man in whose store of memory visual or acoustic images occupy the foremost place may be inclined to deny that motor sensations of unconscious copying enter to any extent into his psychical experience. But an exclusively visual world-image, if such a thing is possible, must evidently be not only emotionally poorer, but also intellectually less distinct and less complete, than an intuition, in which such motor elements are included.

The importance of motor sensations in the psychology of knowledge is by itself of no aesthetic interest. The question has been touched upon in this connection only because of the illustration which it gives to the imitation theory. If, as we believe is the case, it is really necessary, for the purpose of acquiring a complete comprehension of things and events, to "experience" them—that is to say, to pursue and seize upon them, not only with that particular organ of sense to which they appeal, but also by tracing movements of the whole body—then there is no need to wonder at the universality of the imitative impulse. Imitation does not only, according to this view, facilitate our training in useful activities, and aid us in deriving an aesthetic delight from our sensations; it serves also, and perhaps primarily, as an expedient for the accommodating of ourselves to the external world, and for the explaining of things by reference to ourselves. It is therefore natural that imitative movements should occupy so great a place among the activities of children and primitive men. And we can also understand why this fundamental impulse, which has played so important a part in racial as well as in individual education, may become so great as to be a disease and dominate the whole of conscious life. As children we all imitated before we comprehended, and we have learned to comprehend by imitating. It is only when we have grown familiar by imitation with the most important data of perception that we become capable of appropriating knowledge in a more rational way. Although no adult has any need to resort to external imitation in order to comprehend new impressions, it is still only natural that in a pathological condition he should relapse into the primitive imitative reaction. And it is equally natural that an internal, i.e., arrested, imitation should take place in all our perceptions. After this explanation of the universality of this phenomenon we have no further need to occupy ourselves with the general psychology of imitation. We have here only to take notice of its importance for the communication of feeling.

As is well known, it is only in cases of abnormally increased sensibility—for instance, in some of the stages of hypnotism and thought transmission—that the motor counterpart of a mental state can be imitated with such faithfulness and completeness that the imitator is thereby enabled to partake of all the intellectual elements of the state existing in another. The hedonic qualities, on the other hand, which are physiologically conditioned by much simpler motor counterparts, may of course be transmitted with far greater perfection: it is easier to suggest a pleasure than a thought. It is also evident that it is the most general hedonic and volitional elements which have been considered by the German authors on aesthetic in their theories on internal imitation ("Die innere Nachahmung"). They seem to have thought that the adoption of the attitudes and the performance of the movements which usually accompany a given emotional state will also succeed to some extent in producing a similar emotional state. This assumption is perfectly legitimate, even if the connection between feeling and movement be interpreted in the associative way. And it needs no justification when the motor changes are considered as the physiological correlate of the feeling itself.

Everyday experience affords many examples of the way in which feelings are called into existence by the imitation of their expressive movements. A child repeats the smiles and the laughter of its parents, and can thus partake of their joy long before it is able to understand its cause. Adult life naturally does not give us many opportunities of observing this pure form of direct and almost automatic transmission. But even in adult life we may often meet with an exchange of feeling which seems almost independent of any intellectual communication. Lovers know it, and intimate friends like the brothers Goncourt, to say nothing of people who stand in so close a rapport with each other as a hypnotiser and his subject. And even where there is no previous sympathetic relation, a state of joy or sadness may often, if it is only distinctly expressed, pass over, so to say, from the individual who has been under the influence of its objective cause, to another who, as it were, borrows the feeling, but remains unconscious of its cause. We experience this phenomenon almost daily in the influence exerted upon us by social intercourse, and even by those aspects of nature—for instance, blue open sky or overhanging mountains—which naturally call up in us the physical manifestation of emotional states. The coercive force with which our surroundings—animate or inanimate—compel us to adopt the feelings which are suggested by their attitudes, forms, or movements, is perhaps as a rule too weak to be noticed by a self-controlled, unemotional man. But if we want an example of this influence at its strongest, we need but remember how difficult it is for an individual to resist the contagion of collective feeling. On public occasions the common mood, whether of joy or sorrow, is often communicated even to those who were originally possessed by the opposite feeling. So powerful is the infection of great excitement that—according to M. Fere—even a perfectly sober man who takes part in a drinking bout may often be tempted to join in the antics of his drunken comrades in a sort of second-hand intoxication, "drunkenness by induction." In the great mental epidemics of the Middle Ages this kind of contagion operated with more fatal results than ever before or afterward. But even in modern times a popular street riot may often show us something of the same phenomenon. The great tumult in London in 1886 afforded, it is said, a good opportunity of observing how people who had originally maintained an indifferent attitude were gradually carried away by the general excitement, even to the extent of joining in the outrages. In this instance the contagious effect of expressional movements was undoubtedly facilitated by their connection with so primary an impulse as that of rapine and destruction. But the case is the same with all the activities which appear as the outward manifestations of our strongest feeling-states. They all consist of instinctive actions with which everyone is well familiar from his own experience. It is therefore natural that anger, hate, or love may be communicated almost automatically from an individual to masses, and from masses to individuals.

Now that the principle of the interindividual diffusion of feeling has been stated and explained, we may return to our main line of research and examine its bearings on the expressional impulse. We have seen that in the social surroundings of the individual there is enacted a process resembling that which takes place within his own organism. Just as functional modifications spread from organ to organ, just as wider and wider zones of the system are brought into participation in the primary enhancement or inhibition, so a feeling is diffused from an individual to a circle of sympathisers who repeat its expressional movements. And just as all the widened "somatic resonances" contribute to the primary feeling-tone increased strength and increased definiteness, so must the emotional state of an individual be enhanced by retroactive stimulation from the expressions by which the state has, so to say, been continued in others. By the reciprocal action of primary movements and borrowed movements, which mutually imitate each other, the social expression operates in the same way as the individual expression. And we are entitled to consider it as a secondary result of the general expressional impulse, that when mastered by an overpowering feeling we seek enhancement or relief by retroaction from sympathisers, who reproduce and in their expression represent the mental state by which we are dominated.

In point of fact, we can observe in the manifestations of all strong feelings which have not found a satisfactory relief in individual expression, a pursuit of social resonance. A happy man wants to see glad faces around him, in order that from their expression he may derive further nourishment and increase for his own feeling. Hence the benevolent attitude of mind which as a rule accompanies all strong and pure joy. Hence also the widespread tendency to express joy by gifts or hospitality. In moods of depression we similarly desire a response to our feeling from our surroundings. In the depth of despair we may long for a universal cataclysm to extend, as it were, our own pain. As joy naturally makes men good, so pain often makes them hard and cruel. That this is not always the case is a result of the increased power of sympathy which we gain by every experienced pain. Moreover, we have need of sympathetic rapport for our motor reactions against pain. All the active manifestations of sorrow, despair, or anger which are not wholly painful in themselves are facilitated by the reciprocal influence of collective excitement. Thus all strong feelings, whether pleasurable or painful, act as socialising factors. This socialising action may be observed at all stages of development. Even the animals seek their fellows in order to stimulate themselves and each other by the common expression of an overpowering feeling. As has been remarked by Espinas, the flocking together of the male birds during the pairing season is perhaps as much due to this craving for mutual stimulation as to the desire to compete for the favor of the hen. The howling choirs of the macaws and the drum concerts of the chimpanzees are still better and unmistakable instances of collective emotional expression. In man we find the results of the same craving for social expression in the gatherings for rejoicing or mourning which are to be met with in all tribes, of all degrees of development. And as a still higher development of the same fundamental impulse, there appears in man the artistic activity.

The more conscious our craving for retroaction from sympathisers, the more there must also be developed in us a conscious endeavor to cause the feeling to be appropriated by as many as possible and as completely as possible. The expressional impulse is not satisfied by the resonance which an occasional public, however sympathetic, is able to afford. Its natural aim is to bring more and more sentient beings under the influence of the same emotional state. It seeks to vanquish the refractory and arouse the indifferent. An echo, a true and powerful echo—that is what it desires with all the energy of an unsatisfied longing. As a result of this craving the expressional activities lead to artistic production. The work of art presents itself as the most effective means by which the individual is enabled to convey to wider and wider circles of sympathisers an emotional state similar to that by which he is himself dominated.

E. SUGGESTION

1. A Sociological Definition of Suggestion[151]

The nature of suggestion manifestly consists not in any external peculiarities whatever. It is based upon the peculiar kind of relation of the person making the suggestion to the "ego" of the subject during the reception and realization of the suggestion.

Suggestion, is, in general, one of many means of influence of man on man that is exercised with or without intention on persons, who respond either consciously or unconsciously.

For a closer acquaintance with what we call "suggestion," it may be observed that our perceptive activities are divided into (a) active, and (b) passive.

a) Active perception.—In the first case the "ego" of the subject necessarily takes a part, and according to the trend of our thinking or to the environmental circumstances directs the attention to these or those external impressions. These, since they enter the mind through the participation of attention and will and through reflection and judgment, are assimilated and permanently incorporated in the personal consciousness or in our "ego." This type of perception leads to an enrichment of our personal consciousness and lies at the bottom of our points of view and convictions. The organization of more or less definite convictions is the product of the process of reflection instituted by active perception. These convictions, before they become the possession of our personal consciousness, may conceal themselves awhile in the so-called subconsciousness. They are capable of being aroused at any moment at the desire of the "ego" whenever certain experienced representations are reproduced.

b) Passive perception.—In contrast to active perception we perceive much from the environment in a passive manner without that participation of the "ego." This occurs when our attention is diverted in any particular direction or concentrated on a certain thought, and when its continuity for one or another reason is broken up, which, for instance, occurs in cases of so-called distraction. In these cases the object of the perception does not enter into the personal consciousness, but it makes its way into other spheres of our mind, which we call the general consciousness. The general consciousness is to a certain degree independent of the personal consciousness. For this reason everything that enters into the general consciousness cannot be introduced at will into the personal consciousness. Nevertheless products of the general consciousness make their way into the sphere of the personal consciousness, without awareness by it of their original derivation.

In passive perception, without any participation of attention, a whole series of varied impressions flow in upon us and press in past our "ego" directly to the general consciousness. These impressions are the sources of those influences from the outer world so unintelligible even to ourselves, which determine our emotional attitudes and those obscure motives and impulses which often possess us in certain situations.

The general consciousness, in this way, plays a permanent role in the spiritual life of the individual. Now and then an impression passively received in the train of an accidental chain of ideas makes its way into the sphere of the personal consciousness as a mental image, whose novelty astounds us. In specific cases this image or illusion takes the form of a peculiar voice, a vision, or even a hallucination, whose origin undoubtedly lies in the general consciousness. When the personal consciousness is in abeyance, as in sleep or in profound hypnosis, the activity of the general consciousness comes into the foreground. The activity of the general consciousness is limited neither by our ways of viewing things nor by the conditions under which the personal consciousness operates. On this account, in a dream and in profound hypnosis acts appear feasible and possible which with our full personal consciousness we would not dare to contemplate.

This division of our mind into a personal and a general consciousness affords a basis for a clear understanding of the principles of suggestion. The personal consciousness, the so-called "ego," aided by the will and attention, largely controls the reception of external impressions, influences the trend of our ideas, and determines the execution of our voluntary behavior. Every impression that the personal consciousness transmits to the mind is usually subject to a definite criticism and remodeling which results in the development of our points of view and of our convictions.

This mode of influence from the outer world upon our mind is that of "logical conviction." As the final result of that inner reconstruction of impressions appears always the conviction: "This is true, that useful, inevitable, etc." We can say this inwardly when any reconstruction of the impressions has been affected in us through the activity of the personal consciousness. Many impressions get into our mind without our remarking them. In case of distraction, when our voluntary attention is in abeyance, the impression from without evades our personal consciousness and enters the mind without coming into contact with the "ego." Not through the front door, but—so to speak—up the back steps, it gets, in this case, directly into the inner rooms of the soul.

Suggestion may now be defined as the direct infection of one person by another of certain mental states. In other words, suggestion is the penetration or inoculation of a strange idea into the consciousness, without direct immediate participation of the "ego" of the subject. Moreover, the personal consciousness in general appears quite incapable of rejecting the suggestion, even when the "ego" detects its irrationality. Since the suggestion enters the mind without the active aid of the "ego," it remains outside the borders of the personal consciousness. All further effects of the suggestion, therefore, take place without the control of the "ego."

By the term suggestion we do not usually understand the effect upon the mind of the totality of external stimuli, but the influence of person upon person which takes place through passive perception and is therefore independent of the activity of the personal consciousness. Suggestion is, moreover, to be distinguished from the other type of influences operating through mental processes of attention and the participation of the personal consciousness, which result in logical convictions and the development of definite points of view.

Lowenfeld emphasized a distinction between the actual process of "suggesting" and its result, which one simply calls "suggestion." It is self-evident that these are two different processes, which should not be mistaken for each other. A more adequate definition might be accepted, which embraces at once the characteristic manner of the "suggesting," and the result of its activity.

Therefore for suggestion it is not alone the process itself that is characteristic, or the kind of psychic influence, but also the result of this reaction. For that reason I do not understand under "suggesting" alone a definite sort and manner of influence upon man but at the same time the eventual result of it; and under "suggestion" not only a definite psychical result but to a certain degree also the manner in which this result was obtained.

An essential element of the concept of suggestion is, first of all, a pronounced directness of action. Whether a suggestion takes place through words or through attitudes, impressions, or acts, whether it is a case of a verbal or of a concrete suggestion, makes no difference here so long as its effect is never obtained through logical conviction. On the other hand, the suggestion is always immediately directed to the mind by evading the personal consciousness, or at least without previous recasting by the "ego" of the subject. This process represents a real infection of ideas, feelings, emotions, or other psychophysical states.

In the same manner there arise somewhat similar mental states known as auto-suggestion. These do not require an external influence for their appearance but originate immediately in the mind itself. Such is the case, for instance, when any sort of an image forces itself into the consciousness as something complete, whether it is in the form of an idea that suddenly emerges and dominates consciousness, or a vision, a premonition, or the like.

In all these cases psychic influences which have arisen without external stimulus have directly inoculated the mind, thereby evading the criticism of the "ego" or of personal consciousness.

"Suggesting" signifies, therefore, to inoculate the mind of a person more or less directly with ideas, feelings, emotions, and other psychical states, in order that no opportunity is left for criticism and consideration. Under "suggestion," on the other hand, is to be understood that sort of direct inoculation of the mind of an individual with ideas, feelings, emotions, and other psychophysical states which evade his "ego," his personal self-consciousness, and his critical attitude.

Now and then, especially in the French writers, one will find besides "suggestion" the term "psychic contagion," under which, however, nothing further than involuntary imitation is to be understood (compare A. Vigouroux and P. Juquelier, La contagion mentale, Paris, 1905). If one takes up the conception of suggestion in a wider sense, and considers by it the possibility of involuntary suggestion in the way of example and imitation, one will find that the conceptions of suggestion and of psychic contagion depend upon each other most intimately, and to a great extent are not definitely to be distinguished from each other. In any case, it is to be maintained that a strict boundary between psychic contagion and suggestion does not always exist, a fact which Vigouroux and Juquelier in their paper have rightly emphasized.

2. The Subtler Forms of Suggestion[152]

In one very particular respect hypnotism has given us a lesson of the greatest importance to psychology: it has proved that special precautionary measures must be taken in planning psychological experiments. The training of hypnotics has thrown light on this source of error. A hypnotizer may, often without knowing it, by the tone of his voice or by some slight movement cause the hypnotic to exhibit phenomena that at first could only be produced by explicit verbal suggestion, and that altogether the signs used by the hypnotizer to cause suggestions may go on increasing in delicacy. A dangerous source of error is provided by the hypnotic's endeavor to divine and obey the experimenter's intentions. This observation has also proved useful in non-hypnotic experiments. We certainly knew before the days of hypnotism that the signs by which A betrays his thoughts to B may gradually become more delicate. We see this, for example, in the case of the schoolboy, who gradually learns how to detect from the slightest movement made by his master whether the answer he gave was right or not. We find the same sort of thing in the training of animals—the horse, for instance, in which the rough methods at first employed are gradually toned down until in the end an extremely slight movement made by the trainer produces the same effect that the rougher movements did originally. But even if this lessening in the intensity of the signals exists independently of hypnosis, it is the latter that has shown us how easily neglect of this factor may lead to erroneous conclusions being drawn. The suggestibility of the hypnotic makes these infinitesimal signals specially dangerous in his case. But when once this danger was recognized, greater attention was paid to this source of error in non-hypnotic cases than before. It is certain that many psychological experiments are vitiated by the fact that the subject knows what the experimenter wishes. Results are thus brought about that can only be looked upon as the effects of suggestion; they do not depend on the external conditions of the experiment but on what is passing in the mind of the subject.

An event which at the time of its occurrence created a considerable commotion (I refer to the case of Clever Hans), will show how far we may be led by neglecting the above lesson taught us by hypnotism. If the Berlin psychologist Stumpf, the scientific director of the committee of investigation, had but taken into consideration the teachings of hypnotism, he would never have made the fiasco of admitting that the horse, Clever Hans, had been educated like a boy, not trained like an animal.

Clever Hans answered questions by tapping his hoof on the stage; and the observers, more particularly the committee presided over by Stumpf, believed that answers tapped out were the result of due deliberation on the part of the horse, exactly as spiritists believe that the spirits hold intelligent intercourse with them by means of "raps." One tap denoted a, two taps b, three taps c, etc.; or, where numbers were concerned, one tap signified 1, two taps 2, etc. In this way the animal answered the most complicated questions. For instance, it apparently not only solved such problems as 3 times 4 by tapping 12 times, and 6 times 3 by tapping 18 times, but even extracted square roots, distinguished between concords and discords, also between ten different colors, and was able to recognize the photographs of people; altogether, Clever Hans was supposed to be at that time about upon a level with fifth-form boys (the fifth form is the lowest form but one in a German gymnasium). After investigating the matter, Stumpf and the members of his committee drew up the following conjoint report, according to which only one of two things was possible—either the horse could think and calculate independently, or else he was under telepathic, perhaps occult, influence:

The undersigned met together to decide whether there was any trickery in the performance given by Herr v. Osten with his horse, i.e., whether the latter was helped or influenced intentionally. As the result of the exhaustive tests employed, they have come to the unanimous conclusion that, apart from the personal character of Herr v. Osten, with which most of them were well acquainted, the precautions taken during the investigation altogether precluded any such assumption. Notwithstanding the most careful observation, they were well unable to detect any gestures, movements, or other intimations that might serve as signs to the horse. To exclude the possible influence of involuntary movements on the part of spectators, a series of experiments was carried out solely in the presence of Herr Busch, councilor of commissions. In some of these experiments, tricks of the kind usually employed by trainers were, in his judgment as an expert, excluded. Another series of experiments was so arranged that Herr v. Osten himself could not know the answer to the question he was putting to the horse. From previous personal observations, moreover, the majority of the undersigned knew of numerous individual cases in which other persons had received correct answers in the momentary absence of Herr v. Osten and Herr Schillings. These cases also included some in which the questioner was either ignorant of the solution or only had an erroneous notion of what it should be. Finally, some of the undersigned have a personal knowledge of Herr v. Osten's method, which is essentially different from ordinary "training" and is copied from the system of instruction employed in primary schools. In the opinion of the undersigned, the collective results of these observations show that even unintentional signs of the kind at present known were excluded. It is their unanimous opinion that we have here to deal with a case that differs in principle from all former and apparently similar cases; that it has nothing to do with "training" in the accepted sense of the word, and that it is consequently deserving of earnest and searching scientific investigation. Berlin, September 12, 1904. [Here follow the signatures, among which is that of Privy Councilor Dr. C. Stumpf, university professor, director of the Psychological Institute, member of the Berlin Academy of Sciences.]

Anyone who has done critical work in the domain of hypnotism after the manner insisted on by the Nancy school cannot help considering Stumpf's method of investigation erroneous from the very outset. A first source of error that had to be considered was that someone present—it might have been Herr v. Osten or it might have been anyone else—unintentionally had given the horse a sign when to stop tapping. It cannot be considered sufficient, as stated in Stumpf's report, that Herr v. Osten did not know the answer; no one should be present who knows it. This is the first condition to be fulfilled when making such experiments. Anybody who has been engaged in training hypnotized subjects knows that these insignificant signs constitute one of the chief sources of error. Some of the leading modern investigators in the domain of hypnotism—Charcot and Heidenhain, for instance—were misled by them at the time they thought they had discovered new physical reflexes in hypnosis. But in 1904, by which time suggestion had been sufficiently investigated to prevent such an occurrence, a psychologist should not have fallen into an error that had been sufficiently made more than twenty years previously. But the main point is this: signs that are imperceptible to others are nevertheless perceived by a subject trained to do so, no matter whether that subject be a human being or an animal.

3. Social Suggestion and Mass or "Corporate" Action[153]

In most cases the crowd naturally is under leaders, who, with an instinctive consciousness of the importance and strength of the crowd, seek to direct it much more through the power of suggestion than by sound conviction.

It is conceivable, therefore, that anyone who understands how to arrest the attention of the crowd, may always influence it to do great deeds, as history, indeed, sufficiently witnesses. One may recall from the history of Russia Minin, who with a slogan saved his native land from the gravest danger. His "Pawn your wife and child, and free your fatherland" necessarily acted as a powerful suggestion on the already intense crowd. How the crowd and its sentiments may be controlled is indicated in the following account by Boris Sidis:

On the 11th of August, 1895, there took place in the open air a meeting at Old Orchard, Maine. The business at hand was a collection for missionary purposes. The preacher resorted to the following suggestions: "The most remarkable remembrance which I have of foreign lands is that of multitudes, the waves of lost humanity who ceaselessly are shattered on the shores of eternity. How despairing are they, how poor in love—their religion knows no joy, no pleasure, nor song. Once I heard a Chinaman say why he was a Christian. It seemed to him that he lay in a deep abyss, out of which he could not escape. Have you ever wept for the sake of the lost world, as did Jesus Christ? If not, then woe to you. Your religion is then only a dream and a blind. We see Christ test his disciples. Will he take them with him? My beloved, today he will test you. [Indirect suggestion.] He could convert a thousand millionaires, but he gives you an opportunity to be saved. [More direct suggestion.] Are you strong enough in faith? [Here follows a discussion about questions of faith.] Without faith God can do no great things. I believe that Jesus will appear to them who believe firmly in him. My dear ones, if only you give for the sake of God, you have become participants in the faith. [Still more direct suggestion.] The youth with the five loaves and the two little fishes [the story follows]. When everything was ended, he did not lose his loaves; there were twelve baskets left over. O my dear ones, how will that return! Sometime the King of Kings will call to you and give you an empire of glory, and simply because you have had a little faith in him. It is a day of much import to you. Sometime God will show us how much better he has guarded our treasure than we ourselves." The suggestion had the desired effect. Money streamed from all sides; hundreds became thousands, tens of thousands. The crowd gave seventy thousand dollars.

Of analogous importance are the factors of suggestions in wars, where the armies go to brilliant victories. Discipline and the sense of duty unite the troops into a single mighty giant's body. To develop its full strength, however, this body needs some inspiration through a suggested idea, which finds an active echo in the hearts of the soldiers. Maintenance of the warlike spirit in decisive moments is one of the most important problems for the ingenious general.

Even when the last ray of hope for victory seems to have disappeared, the call of an honored war chief, like a suggestive spark, may fire the hosts to self-sacrifice and heroism. A trumpet signal, a cry "hurrah," the melody of the national hymn, can here at the decisive moment have incalculable effects. There is no need to recall the role of the "Marsellaise" in the days of the French Revolution. The agencies of suggestion in such cases make possible, provided that they are only able to remove the feeling of hopelessness, results which a moment before are neither to be anticipated nor expected. Where will and the sense of duty alone seem powerless, the mechanisms of suggestion may develop surprising effects.

Excited masses are, it is well known, capable of the most inhuman behavior, and indeed for the very reason that, instead of sound logic, automatism and impulsiveness have entered in as direct results of suggestion. The modern barbarities of the Americans in the shape of lynch law for criminals or those who are only under a suspicion of a crime redound to the shame of the land of freedom, but find their full explanation in that impulsiveness of the crowd which knows no mercy.

The multitude can, therefore, ever be led according to the content of the ideas suggested to it, as well to sublime and noble deeds as, on the other hand, to expressions of the lower and barbaric instincts. That is the art of manipulating the masses.

It is a mistake to regard popular assemblies who have adopted a certain uniform idea simply as a sum of single elements, as is now and then attempted. For one is dealing in such cases, not with accidental, but with actual psychical, processes of fusion, which reciprocal suggestion is to a high degree effective in establishing and maintaining. The aggressiveness of the single elements of the mass arrives in this at their high point at one and the same time, and with complete spiritual unanimity the mass can now act as one man; it moves, then, like one enormous social body, which unites in itself the thoughts and feelings of all by the very fact that there is a temper of mind common to all. Easily, however, as the crowd is to excite to the highest degrees of activity, as quickly—indeed, much more quickly—does it allow itself, as we have already seen, to be dispersed by a panic. Here too the panic rests entirely on suggestion, contra-suggestion, and the instinct of imitation, not on logic and conviction. Automatism, not intelligence, is the moving factor therein.