The Greatest Works of Henri Bergson. Henri Bergson

Чтение книги онлайн.

СКАЧАТЬ coming forth to meet the pleasure as soon as it is pictured. When we define inclination as a movement, we are not using a metaphor. When confronted by several pleasures pictured by our mind, our body turns towards one of them spontaneously, as though by a reflex action. It rests with us to check it, but the attraction of the pleasure is nothing but this movement that is begun, and the very keenness of the pleasure, while we enjoy it, is merely the inertia of the organism, which is immersed in it and rejects every other sensation. Without this vis inertiae of which we become conscious by the very resistance which we offer to anything that might distract us, pleasure would be a state, but no longer a magnitude. In the moral as in the physical world, attraction serves to define movement rather than to produce it.

      The intensity of representative sensations. Many also affective and intensity is measured by reaction called forth. In others a new element enters.

We have studied the affective sensations separately, but we must now notice that many representative sensations possess an affective character, and thus call forth a reaction on our part which we take into account in estimating their intensity. A considerable increase of light is represented for us by a characteristic sensation which is not yet pain, but which is analogous to dazzling. In proportion as the amplitude of sound-vibrations increases, our head and then our body seem to us to vibrate or to receive a shock. Certain representative sensations, those of taste, smell and temperature, have a fixed character of pleasantness or unpleasantness. Between flavours which are more or less bitter you will hardly distinguish anything but differences of quality; they are like different shades of one and the same colour. But these differences of quality are at once interpreted as differences of quantity, because of their affective character and the more or less pronounced movements of reaction, pleasure or repugnance, which they suggest to us. Besides, even when the sensation remains purely representative, its external cause cannot exceed a certain degree of strength or weakness without inciting us to movements which enable us to measure it. Sometimes indeed we have to make an effort to perceive this sensation, as if it were trying to escape notice; sometimes on the other hand it obsesses us, forces itself upon us and engrosses us to such an extent that we make every effort to escape from it and to remain ourselves. In the former case the sensation is said to be of slight intensity, and in the latter case very intense. Thus, in order to perceive a distant sound, to distinguish what we call a faint smell or a dim light, we strain all our faculties, we "pay attention." And it is just because the smell and the light thus require to be reinforced by our efforts that they seem to us feeble. And, inversely, we recognize a sensation of extreme intensity by the irresistible reflex movements to which it incites us, or by the powerlessness with which it affects us. When a cannon is fired off close to our ears or a dazzling light suddenly flares up, we lose for an instant the consciousness of our personality; this state may even last some time in the case of a very nervous subject. It must be added that, even within the range of the so-called medium intensities, when we are dealing on even terms with a representative sensation, we often estimate its importance by comparing it with another which it drives away, or by taking account of the persistence with which it returns. Thus the ticking of a watch seems louder at night because it easily monopolizes a consciousness almost empty of sensations and ideas. Foreigners talking to one another in a language which we do not understand seem to us to speak very loudly, because their words no longer call up any ideas in our mind, and thus break in upon a kind of intellectual silence and monopolize our attention like the ticking of a watch at night. With these so-called medium sensations, however, we approach a series of psychic states, the intensity of which is likely to possess a new meaning. For, in most cases, the organism hardly reacts at all, at least in a way that can be perceived; and yet we still make a magnitude out of the pitch of a sound, the intensity of a light, the saturation of a colour. Doubtless, a closer observation of what takes place in the whole of the organism when we hear such and such a note or perceive such and such a colour has more than one surprise in store for us. Has not C. Féré shown that every sensation is accompanied by an increase in muscular force which can be measured by the dynamometer?16 But of an increase of this kind there is hardly any consciousness at all, and if we reflect on the precision with which we distinguish sounds and colours, nay, even weights and temperatures, we shall easily guess that some new element must come into play in our estimate of them.

      The purely representative sensations are measured by external causes.

      Now, the nature of this element is easy to determine. For, in proportion as a sensation loses its affective character and becomes representative, the reactions which it called forth on our part tend to disappear, but at the same time we perceive the external object which is its cause, or if we do not now perceive it, we have perceived it, and we think of it. Now, this cause is extensive and therefore measurable: a constant experience, which began with the first glimmerings of consciousness and which continues throughout the whole of our life, shows us a definite shade of sensation corresponding to a definite amount of stimulation. We thus associate the idea of a certain quantity of cause with a certain quality of effect; and finally, as happens in the case of every acquired perception, we transfer the idea into the sensation, the quantity of the cause into the quality of the effect. At this very moment the intensity, which was nothing but a certain shade or quality of the sensation, becomes a magnitude. We shall easily understand this process if, for example, we hold a pin in our right hand and prick our left hand more and more deeply. At first we shall feel as it were a tickling, then a touch which is succeeded by a prick, then a pain localized at a point, and finally the spreading of this pain over the surrounding zone. And the more we reflect on it, the more clearly shall we see that we are here dealing with so many qualitatively distinct sensations, so many varieties of a single species. But yet we spoke at first of one and the same sensation which spread further and further, of one prick which increased in intensity. The reason is that, without noticing it, we localized in the sensation of the left hand, which is pricked, the progressive effort of the right hand, which pricks. We thus introduced the cause into the effect, and unconsciously interpreted quality as quantity, intensity as magnitude. Now, it is easy to see that the intensity of every representative sensation ought to be understood in the same way.

      The sensations of sound. Intensity measured by effort necessary to produce a similar sound.

The sensations of sound display well marked degrees of intensity. We have already spoken of the necessity of taking into account the affective character of these sensations, the shock received by the whole of the organism. We have shown that a very intense sound is one which engrosses our attention, which supplants all the others. But take away the shock, the well-marked vibration, which you sometimes feel in your head or even throughout your body: take away the clash which takes place between sounds heard simultaneously: what will be left except an indefinable quality of the sound which is heard? But this quality is immediately interpreted as quantity because you have obtained it yourself a thousand times, e.g. by striking some object and thus expending a definite quantity of effort. You know, too, how far you would have to raise your voice to produce a similar sound, and the idea of this effort immediately comes into your mind when you transform the intensity of the sound into a magnitude. Wundt17 has drawn attention to the quite special connexions of vocal and auditory nervous filaments which are met with in the human brain. And has it not been said that to hear is to speak to oneself? Some neuropaths cannot be present at a conversation without moving their lips; this is only an exaggeration of what takes place in the case of every one of us. How will the expressive or rather suggestive power of music be explained, if not by admitting that we repeat to ourselves the sounds heard, so as to carry ourselves back into the psychic state out of which they emerged, an original state, which nothing will express, but which something may suggest, viz., the very motion and attitude which the sound imparts to our body?

      Intensity and pitch. The part played by muscular effort.

      Thus, when we speak of the intensity of a sound of medium force as a magnitude, we allude principally to the greater or less effort which we should have ourselves to expend in order to summon, by our own effort, the same auditory sensation.

      Now, СКАЧАТЬ