Essay on the Creative Imagination. Th. Ribot

      FOOTNOTES:

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      [3] Cf. the well-known aphorism, "Apperception ist alles." (Tr.)

      [4] See especially J. Philippe, "La déformation et les transformations des images" in Revue Philosophique, May and November, 1897. Although these investigations had in view only visual representations, it is not at all doubtful that the results hold good for others, especially those of hearing (voice, song, harmony).

[5] On Intelligence, Vol. I, Bk. ii, Chap. 2.

[6] In his recent history of the theories of the imagination, La psicologia dell' immaginazione, nella storia filosofia (Rome, 1898) Ambrosi shows that this law is found already formulated in the Psychologia Empirica of Christian Wolff [d. 1754]: "Perceptio præterita integra recurrit cujus præsens continet partem."

[7] Sully, Human Mind, I, p. 365; James, Psychology, I, p. 502.

[8] For a good criticism of the term, consult Titchener, Outlines of Psychology (New York, 1896), p. 190.

[9] For the discussions on the reduction to a unity, a detailed bibliography will be found in Jodl, Lehrbuch der Psychologie (Stuttgart, 1896), p. 490. On the comparison of the two laws, James, op. cit., I, 590; Sully, op. cit., I, 331 ff; Höffding, Psychologie, 213 ff. (Eng. ed. Outlines of Psychology, pp. 152 ff.).

[10] Note here a characteristically naïve working of the primitive intellect in explaining the unknown in terms of the known. Cf. Part II, Chap. iii, below. (Tr.)

[11] It is yet, and will probably long remain, an open question whether we can draw any clear distinction between the two kinds of mind here discussed. The author is careful to base his distinction on the "predominance" of the "rational" or of the "imaginative" process. So-called "thinkers," who do nothing, can not, certainly, be ranked with the persons of great intellectual attainment through whose efforts the progress of the world is made; on the other hand, the author seeks to make results or accomplishments the crucial test of true imagination (see Introduction).

      As regards the relative value or rank of the two bents of mind there has ever been, and probably forever will be, great difference of opinion. Even in this intensely "practical" age there is an undercurrent of feeling that the narrowly "practical" individual is not the final ideal, and the innermost conviction of many is the same as that of the poet who declares that "a dreamer lives forever, but a thinker dies in a day." (Tr.)

CHAPTER II

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THE EMOTIONAL FACTOR.

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      The influence of emotional states on the working of the imagination is a matter of current observation. But it has been studied chiefly by moralists, who most often have criticised or condemned it as an endless cause of mistakes. The point of view of the psychologist is altogether different. He does not need at all to investigate whether emotions and passions give rise to mental phantoms—which is an indisputable fact—but why and how they arise. For, the emotional factor yields in importance to no other; it is the ferment without which no creation is possible. Let us study it in its principal forms, although we may not be able at this moment to exhaust the topic.

I

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      It is necessary to show at the outset that the influence of the emotional life is unlimited, that it penetrates the entire field of invention with no restriction whatever; that this is not a gratuitous assertion, but is, on the contrary, strictly justified by facts, and that we are right in maintaining the following two propositions:

      1. All forms of the creative imagination imply elements of feeling.

      This statement has been challenged by authoritative psychologists, who hold that "emotion is added to imagination in its esthetic aspect, not in its mechanical and intellectual form." This is an error of fact resulting from the confusion, or from the imperfect analysis, of two distinct cases. In the case of non-esthetic creation, the rôle of the emotional life is simple; in esthetic creation, the rôle of emotional element is double.

      Let us consider invention, first, in its most general form. The emotional element is the primal, original factor; for all invention presupposes a want, a craving, a tendency, an unsatisfied impulse, often even a state of gestation full of discomfort. Moreover, it is concomitant, that is, under its form of pleasure or of pain, of hope, of spite, of anger, etc., it accompanies all the phases or turns of creation. The creator may, haphazard, go through the most diverse forms of exaltation and depression; may feel in turn the dejection of repulse and the joy of success; finally the satisfaction of being freed from a heavy burden. I challenge anyone to produce a solitary example of invention wrought out in abstracto, and free from any factors of feeling. Human nature does not allow such a miracle.

      Now, let us take up the special case of esthetic creation, and of forms approaching thereto. Here again we find the original emotional element as at first motor, then attached to various aspects of creation, as an accompaniment. But, in addition, affective states become material for the creative activity. It is a well-known fact, almost a rule, that the poet, the novelist, the dramatist, and the musician—often, indeed, even the sculptor and the painter—experience the thoughts and feeling of their characters, become identified with them. There are, then, in this second instance, two currents of feeling—the one, constituting emotion as material for art, the other, drawing out creative activity and developing along with it.

      The difference between the two cases that we have distinguished consists in this and nothing more than this. The existence of an emotion-content belonging to esthetic production changes in no way the psychologic mechanism of invention generally. Its absence in other forms of imagination does not at all prevent the necessary existence of affective elements everywhere and always.

      2. All emotional dispositions whatever may influence the creative imagination.

Here, again, I find