The Greatest Works of Henri Bergson. Henri Bergson

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СКАЧАТЬ to ourselves in the same way, intensities which are very different in nature, e.g. the intensity of a feeling and that of a sensation or an effort.

      The effort is accompanied by a muscular sensation, and the sensations themselves are connected with certain physical conditions which probably count for something in the estimate of their intensity: we have here to do with phenomena which take place on the surface of consciousness, and which are always connected, as we shall see further on, with the perception of a movement or of an external object. But certain states of the soul seem to us, rightly or wrongly, to be self-sufficient, such as deep joy or sorrow, a reflective passion or an aesthetic emotion. Pure intensity ought to be more easily definable in these simple cases, where no extensive element seems to be involved. We shall see, in fact, that it is reducible here to a certain quality or shade which spreads over a more or less considerable mass of psychic states, or, if the expression be preferred, to the larger or smaller number of simple states which make up the fundamental emotion.

      Take, for example, the progress of a desire.

      For example, an obscure desire gradually becomes a deep passion. Now, you will see that thee feeble intensity of this desire consisted at first in its appearing to be isolated and, as it were, foreign to the remainder of your inner life. But little by little it permeates a larger number of psychic elements, tingeing them, so to speak, with its own colour: and lo! your outlook on the whole of your surroundings seems now to have changed radically. How do you become aware of a deep passion, once it has taken hold of you, if not by perceiving that the same objects no longer impress you in the same manner? All your sensations and all your ideas seem to brighten up: it is like childhood back again. We experience something of the kind in certain dreams, in which we do not imagine anything out of the ordinary, and yet through which there resounds an indescribable note of originality. The fact is that, the further we penetrate into the depths of consciousness, the less right we have to treat psychic phenomena as things which are set side by side. When it is said that an object occupies a large space in the soul or even that it fills it entirely, we ought to understand by this simply that its image has altered the shade of a thousand perceptions or memories, and that in this sense it pervades them, although it does not itself come into view. But this wholly dynamic way of looking at things is repugnant to the reflective consciousness, because the latter delights in clean cut distinctions, which are easily expressed in words, and in things with well-defined outlines, like those which are perceived in space. It will assume then that, everything else remaining identical, such and such a desire has gone up a scale of magnitudes, as though it were permissible still to speak of magnitude where there is neither multiplicity nor space! But just as consciousness (as will be shown later on) concentrates on a given point of the organism the increasing number of muscular contractions which take place on the surface of the body, thus converting them into one single feeling of effort, of growing intensity, so it will hypostatize under the form of a growing desire the gradual alterations which take place in the confused heap of co-existing psychic states. But that is a change of quality rather than of magnitude.

      What makes hope such an intense pleasure is the fact that the future, which we dispose of to our liking, appears to us at the same time under a multitude of forms, equally attractive and equally possible. Even if the most coveted of these becomes realized, it will be necessary to give up the others, and we shall have lost a great deal. The idea of the future, pregnant with an infinity of possibilities, is thus more fruitful than the future itself, and this is why we find more charm in hope than in possession, in dreams than in reality.

      The emotions of joy and sorrow. Their successive stages correspond to qualitative changes in the whole of our psychic states.

      Let us try to discover the nature of an increasing intensity of joy or sorrow in the exceptional cases where no physical symptom intervenes. Neither inner joy nor passion is an isolated inner state which at first occupies a corner of the soul and gradually spreads. At its lowest level it is very like a turning of our states of consciousness towards the future. Then, as if their weight were diminished by this attraction, our ideas and sensations succeed one another with greater rapidity; our movements no longer cost us the same effort. Finally, in cases of extreme joy, our perceptions and memories become tinged with an indefinable quality, as with a kind of heat or light, so novel that now and then, as we stare at our own self, we wonder how it can really exist. Thus there are several characteristic forms of purely inward joy, all of which are successive stages corresponding to qualitative alterations in the whole of our psychic states. But the number of states which are concerned with each of these alterations is more or less considerable, and, without explicitly counting them, we know very well whether, for example, our joy pervades all the impressions which we receive in the course of the day or whether any escape from its influence. We thus set up points of division in the interval which separates two successive forms of joy, and this gradual transition from one to the other makes them appear in their turn as different intensities of one and the same feeling, which is thus supposed to change in magnitude. It could be easily shown that the different degrees of sorrow also correspond to qualitative changes. Sorrow begins by being nothing more than a facing towards the past, an impoverishment of our sensations and ideas, as if each of them were now contained entirely in the little which it gives out, as if the future were in some way stopped up. And it ends with an impression of crushing failure, the effect of which is that we aspire to nothingness, while every new misfortune, by making us understand better the uselessness of the struggle, causes us a bitter pleasure.

      The aesthetic feelings. Their increasing intensities are really different feelings.

The aesthetic feelings offer us a still more striking example of this progressive stepping in of new elements, which can be detected in the fundamental emotion and which seem to increase its magnitude, although in reality they do nothing more than alter its nature. Let us consider the simplest of them, the feeling of grace. At first it is only the perception of a certain ease, a certain facility in the outward movements. And as those movements are easy which prepare the way for others, we are led to find a superior ease in the movements which can be foreseen, in the present attitudes in which future attitudes are pointed out and, as it were, prefigured. If jerky movements are wanting in grace, the reason is that each of them is self-sufficient and does not announce those which are to follow. If curves are more graceful than broken lines, the reason is that, while a curved line changes its direction at every moment, every new direction is indicated in the preceding one. Thus the perception of ease in motion passes over into the pleasure of mastering the flow of time and of holding the future in the present. A third element comes in when the graceful movements submit to a rhythm and are accompanied by music. For the rhythm and measure, by allowing us to foresee to a still greater extent the movements of the dancer, make us believe that we now control them. As we guess almost the exact attitude which the dancer is going to take, he seems to obey us when he really takes it: the regularity of the rhythm establishes a kind of communication between him and us, and the periodic returns of the measure are like so many invisible threads by means of which we set in motion this imaginary puppet. Indeed, if it stops for an instant, our hand in its impatience cannot refrain from making a movement, as though to push it, as though to replace it in the midst of this movement, the rhythm of which has taken complete possession of our thought and will. Thus a kind of physical sympathy enters into the feeling of grace. Now, in analysing the charm of this sympathy, you will find that it pleases you through its affinity with moral sympathy, the idea of which it subtly suggests. This last element, in which the others are merged after having in a measure ushered it in, explains the irresistible attractiveness of grace. We could hardly make out why it affords us such pleasure if it were nothing but a saving of effort, as Spencer maintains.1 But the truth is that in anything which we call very graceful we imagine ourselves able to detect, besides the lightness which is a sign of mobility, some suggestion of a possible movement towards ourselves, of a virtual and even nascent sympathy. It is this mobile sympathy, always ready to offer itself, which is just the essence of higher grace. Thus the increasing intensities of aesthetic feeling are here resolved into as many different feelings, each one of which, already heralded by its predecessor, becomes perceptible in it and then completely eclipses СКАЧАТЬ