CHAPTER XXI

CONCLUSIONS

There are several aspects of the history of art which have had to

be ignored in the preceding chapters. A student of ethnology, for

instance, will blame us because in our hasty review of primitive art

no mention has been made of the important influence which political

institutions and religious systems have exercised on the development

of art. Nor can there be any question of denying that these factors

ought to be properly treated of in every research which aims at a

_descriptive_ completeness. From the historical point of view indeed

nothing could be more interesting than to pursue throughout the

general history of art that line of investigation which Mr. Posnett

has applied to the study of literature. Not only in the lower stages

of culture, but also among civilised nations, one might show how in

all its forms and branches art has been influenced for good and bad by

the progress of political development. Tribal drama, tribal sculpture,

and tribal poetry might thus be instructively contrasted with the art

of commonwealths and monarchic states. Still wider results might be

attained by tracing those differences in types of art which arise from

differences in the religious systems. But such researches, however

important they might be, would not have much bearing upon the subject

of the present work. Notwithstanding the differentiation of art-forms

that has arisen from the varying political and religious conditions, we

do not meet in these different forms with any principle of art that has

not been treated of already in the preceding chapters. To explain, for

instance, the art which serves as a means of political propitiation,

we need only refer to our investigation of the æsthetic forms of

sexual selection. It is true that songs, dances, and pantomimes will

necessarily change in character when addressed to a chief or king

instead of to a woman. But the purpose—to gain the favour of the

spectator—is still the same in both cases. And from this identity of

purpose there arises a general similarity between all manifestations

of propitiatory art, which, from our point of view, is more important

than the individual differences of these manifestations. As in tribes

where social conditions have favoured the development of sexual

selection erotic art acquires the distinction of attractiveness and

sensuous beauty, so these qualities will also be prominent in the songs

and dances by which people endeavour to conciliate the favour and

benevolence of a mighty ruler. And as on the lower stages of culture

men attribute to their gods their own likings and aversions, the

same qualities will naturally be found to characterise those classes

of art by which worshippers pay their homage to a divine spectator.

And, finally, as a conspicuous outcome of the motive “to attract by

pleasing” we meet with a similar group of dances, songs, and pantomimes

addressed to the spirits of the deceased—those spectators whose favour

or disfavour is of paramount importance to primitive man.

Side by side with this element of propitiation we find in the artistic

manifestations connected with funeral ceremonies examples of almost

all those aspects of art to which attention has been called in the

preceding chapters. The purpose of information is represented by

pictorial, poetic, or dramatic representations in which the doings

of the deceased are displayed before the survivors.[506] The dances

and songs may in many cases be reasonably explained as aiming at a

stimulation of the spirit, which certainly needs an increase of force

in order to surmount all the hardships and the weary wanderings of

its transitional life.[507] In other cases funeral art is evidently

intended to produce upon invisible enemies the same kind of terrifying

effects which have already been spoken of in connection with military

paintings and pantomimes.[508] And, lastly, it is probably in the

endeavour to exert a sympathetic influence upon the combats which the

deceased must undergo before he can attain his peace and rest that the

survivors hold magical sham-fights and tugs of war over his grave.[509]

Thus in this one branch of art we can see how each of the sociological

art-principles is of much wider applicability than has been possible

to trace within the limits of this work. But, on the other hand, the

crucial instance of funeral art shows us how even in such artistic

manifestations as at the outset appear to be quite irreducible we may

by a closer investigation reveal the influence of those general factors

which have been selected for treatment in the preceding chapters. And

therefore, without entering upon a detailed examination of all the

varying forms of art, we feel entitled to hold that the utilitarian

motives of information, propitiation, stimulation, and magical

efficiency afford a sufficiently complete list—from a theoretical point

of view—of the most important non-æsthetic factors that have favoured

the development of art.

* * * * *

The attentive reader will probably have remarked that those very

aspects of art with which we have been engaged in the latter part

of this work broadly correspond to some of the most important

interpretations of the art-impulse offered by æsthetic theories. To

give information—that is, to widen our knowledge of nature and life;

to propitiate—that is, to flatter our senses by the display of beauty;

to stimulate—that is, to heighten our vital energy, and thus make life

easier to live and life’s work easier to perform; to work magic—that

is, to produce an illusion of reality capable of leading to a confusion

between the subjective and objective world;—these are all purposes

which have been represented as essential to art. From our summary

investigation of primitive art it has, we hope, appeared how fully

we admit the close connection of these purposes with the historical

development of art. And it might be shown, if our investigation were

pursued into the later stages of development, that art on its highest

plane still bears the same relation to concrete utilities as it does on

the lowest. Art never ceases to inform, never ceases to please, never

ceases to stimulate, never loses something of a magical efficacy. But

while acknowledging the importance of all these purposes, we have,

on the other hand, to maintain the view which was set out in the

psychological chapters of the opening—that it is only by assuming an

independent art-impulse that we can explain the essential character of

art. To make plain the distinction between these two points of view it

is advisable to summarise in brief the arguments of either part of our

investigation.

In the first chapters the writer attempted to show that the art-impulse

in its broadest sense must be taken as an outcome of the natural

tendency of every feeling-state to manifest itself externally, the

effect of such a manifestation being to heighten the pleasure and to

relieve the pain. We found in this fact the primary source of art

as an individual impulse. But art is essentially social; and this

also we explained on psychological grounds. The secondary effect of

the exteriorisation of a feeling-state is to awaken similar feelings

in other human beings who perceive the manifestation; and their

sympathetic feeling acts upon the author of the original manifestation,

heightening in him the feeling-state which gave rise to it.

Now, all works of art have a common element notwithstanding their

diversity. They express, each in their own medium, a mood or moods of

the artist; they arise, that is, out of the impulse to expression,

which is as primitive as feeling itself. Every man seeks automatically

to heighten his feelings of pleasure and to relieve his feelings of

pain. The artist is the man who finds that he can gain such enhancement

or relief, not only by the direct action of giving expression to his

feeling, but also by arousing a kindred feeling in others. Hence

originates in him that desire to transmit his moods to an external

audience which must be regarded as the simplest and most primordial

inducement to artistic production. And also as a further means of

realising the same purpose there arises the endeavour to give the

artistic product—that is to say, the externalised expression of his

mood—a form which may facilitate the revival of the original state in

an ever wider circle of sympathisers. Thus from the reflex outlet for a

strong emotional pressure we are led to a deliberate creation, in which

the intellectual and volitional elements preponderate increasingly over

the automatic, emotional impulse. But from this gain in consciousness

there does not result any change in the essential character of the

artistic activity. However great the difference between the highest

forms of art, such as, for instance, a drama or a sculpture, and the

primitive dance-pantomime, the underlying impulse is still the same in

both cases. Perpetuation—that is, expression which is addressed to a

fictitious audience—can only be explained by reference to the enhancing

and relieving effects which man has experienced as results of emotional

transmission. And all the intentional activities, the artistic

composition, the artistic technique, and so on, by which perpetuation

is secured can thus be regarded as subservient to the emotionalistic

purpose. Moreover, these same activities, however unemotional they

may be in themselves, will enable the artist to extort an increased

emotional value from his “motives”; for instance, the greater a man’s

skill in suggesting the peculiar thrill of colour, the greater will

be his pleasure in colour itself. Technical excellency, which to the

outsider is a cold and neutral thing, may thus to the artist and to

the intelligent critic be full of expressional significance. From

whichever point of view we may look at art, we shall have to interpret

its central and essential characteristics in terms of feeling. In this

way we can account for it as a self-sufficing, or as we have said,

autotelic activity. And in this way only can we explain the strength of

that compelling force which urges an artist to an exertion from which

he derives no external utility.

But it cannot be contended that primitive human nature furnishes not

only the impulse to expression but also the medium. The artist in man

had the feeling; he had to discover a way to exteriorise it. Nearest

perhaps to primitive art lie the immediate manifestations by regulated

gesture and regulated sounds of the voice, which are also in their

highest development the most potent means for transmitting an emotion.

Yet the different utilities of life offered also other means—as it

were, words of a language—in which the feeling could express itself

and transmit itself from mind to mind. The man who used drawing as a

means of communicating thoughts could express in a drawing the terror

which a beast inspired or the delight he had derived from watching its

movements. And just as the purpose of imparting information—whether by

word or image—afforded a natural medium through which the art-impulse

could work to its own ends, so also the purpose of propitiation

afforded in dance or decoration something which might be diverted

from its original object and be used with the single intention of

expressing, for instance, the dancer’s mood. Similarly each of the

other purposes that have been discussed or alluded to afforded, as

it were, a concrete material for art—a shape in which the primitive

impulse to gesture could embody and develop itself. And beyond the

fact that art has been obliged to avail itself of media which have

originally been called into existence by utilitarian, non-æsthetic

needs, there lies another fact. To these external “origins” we can also

trace some of the most important qualities which we appreciate in a

work of art. In this way it is open to us to explain how several of

the virtues of art, as we know it, may be derived from the primitive

needs which it subserved; how, for instance, the lucidity of art may

find its explanation in art’s use for conveying information; how the

sensuous and attractive qualities of all art may be traced to the need

for propitiating favour; how the power that resides in art to brace and

stimulate the mind may be transmitted from the days when the artist was

appointed to nerve his fellows for work or war. And, lastly, it might

be argued that a most characteristic quality of art, the imagination,

which is in a sense faith in the reality of the unreal (whether native

to the human mind or not), may have been immensely heightened by the

use of art for purposes of magic, which fuses the visible and the

invisible.

There is thus suggested a further point. We were able to derive those

qualities of artistic composition, which in all æsthetic systems

have been insisted on as the most primordial, from the distinctive

qualities of the self-sufficing art-impulse, by showing how the

unity, the concentration, and the subordination of parts to a whole

correspond to the unity of a feeling-state which it is the object

of the art-impulse to convey and to perpetuate in its entirety. On

the other hand, we are forced to acknowledge that by the side of

these primordial qualities there exist certain secondary qualities

which have been of great importance in facilitating and securing the

transmission and perpetuation of the original feeling-state; and we

have shown how these qualities arise out of the vassalage by which art

in its historical development has been bound to the necessities and

utilities of practical life. For those who crave a theoretical basis

for the estimation of art there is offered a field of research in the

comparison and relative valuation of these two orders of qualities. By

studying the alternate influences which the primary and the derived

factors have exercised on the character of works of art, it may even be

possible to lay down a kind of scale by which to rank general qualities

as well as individual manifestations. But all this train of thought,

though cognate to our inquiry, is not a part of it. This book has aimed

simply to give an answer to the question, How did art originate? To

those minds which see no value in an æsthetic inquiry that neither

purposes to offer guidance for the artist in producing works of art,

nor for the student in appreciating them, the whole discussion may

probably appear futile. The author on his part has thought that such

investigation into an important and typical human energy must be of

interest at least, if not of value. But upon the practical question it

is his personal opinion that the loss would be greater than the gain

if theories and judgments based upon philosophical considerations were

allowed to influence either the production or the enjoyment of art.

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INDEX OF AUTHORS

Abbott, 287

Abercromby, 173

Acosta, 252, 266

Agrippa, 282

Ahlqvist, 159, 211

Allen, 8, 194

Amiel, 32, 38

Andree, 176, 280, 294

Angas, 67, 220, 259, 266, 270

Archer, 53

Aristotle, 23

Aubry, 82

Bailey, 237

Bain, 32, 33, 44

Baker, 236

Baldwin, 14, 24, 25, 79

Balfour, 147

Bancroft, 270, 272

Barrington, 198

Bartels, 67

Bashkirtseff, 61

Batchelor, 67, 159

Baumgarten, 1, 2

Beccari, 195

Beecham, 265

Berchon, 233

Bérenger-Féraud, 278, 283, 284, 286

Bernays, 60

Bernier, 67

Bidwill, 262, 264, 269

Binet, 81, 197

Binger, 226, 287

Blumentritt, 234, 235, 266

Boccaccio, 68

Bock, 227, 290

Böhme, 252

Bonghi, 283

Bonwick, 159, 160

Bosanquet, 2

Bouillier, 32, 37, 51

Bourget, 122

Bourgoing, 89

Bourke, 67, 169

Brehm, 84, 189, 199

Brenner, 234, 235, 259, 291

Bridges, 165

Brière, 283

Brinton, 63, 67, 156, 174, 211, 212, 236, 285

Broca, 252

Brown, Baldwin, 111

Brown, John, 94, 185

Bücher, 88, 106, 254, 255, 257, 259

Büchner, 194, 243

Buckland, 226

Buffon, 192

Burchell, 222

Burke, 77

Burton, 152, 179, 224, 233, 251, 252, 254, 259, 266

Cahusac, 94, 266

Calmeil, 61

Calvert, 267

Cameron, 182

Campanella, 77

Campbell, 263

Carlyle, 123

Carpenter, 134

Carver, 92, 183, 266

Casalis, 262, 266, 285, 287

Castrén, 285

Catlin, 11

Chamisso, 159

Champfleury, 68

Chappuy, 159

Charcot and Richer, 109

Chardin, 254

Clapperton, 158

Clavigero, 271

Clercq, de, 291

Codrington, 165, 175

Colden, 266

Collins, 182, 285

Combarieu, 108

Cook, 66, 158, 166, 233, 236, 245, 246, 262, 264, 266, 267, 269

Cornish, 194

Crane, 184

Cranz, 66, 152, 165

Crawley, 218, 244

Creuzer, 107

Cruickshank, 160, 175

Cruise, 262

Curr, 67, 152, 159, 226, 235, 246, 279

Czervinski, 266

Dale, 182

Dall, 66

Dalton, 234, 262, 283, 300

Darwin, 32, 33, 48, 187, 189, 191, 194, 195, 198, 201, 232, 238

Davy, 237

Day, 67, 160

Delbœuf, 35

Deschamps, 237

Dieffenbach, 225, 236, 254, 279

Digby, 281

Dobrizhoffer, 180, 226, 268

Düben, 79

Dumont, 32, 35

Dupuis, 267

Dyer, 111

Earle, 154, 262, 276

Ehrenreich, 160

Elliot, 224

Ellis, A. B., 220, 224, 226, 233, 279, 291, 295

Ellis, Havelock, 19, 218

Ellis, W., 66, 179, 233, 244, 262, 267, 268

Elworthy, 217

Emmanuel, 106, 109

Engel, 24, 95

Erman, 160, 174

Espinas, 84, 188, 192, 199

Eyre, 160, 233, 268

Faguet, 59

Farrer, 271, 285

Fechner, 40

Féré, 30, 40, 44, 94, 199, 252, 256, 257

Fewkes, 170

Figuier, 61

Finsch, 175, 215, 216, 220, 227, 269, 272

Fison, 182

Flaubert, 40

Forbes, Fr. E., 179, 251, 262

Forbes, H. O., 180, 235

Fornander, 161, 178

Fouillée, 76

Fraser, 153, 225, 262, 284

Frazer, 182, 219, 226, 278, 279, 280, 283, 284, 287, 293

Freycinet, 67

Fritsch, 216, 237, 248, 262, 263

Fytche, 226

Gaidoz, 286

Gason, 67, 283

Gautier, 4

Geddes and Thomson, 189

Gill, 160, 178, 179, 233, 244, 255

Godden, 222, 226

Godfernaux, 44, 94

Goethe, 105

Goncourt, 40, 68, 80

Gooneratne, 291

Gratiolet, 32

Grey, 159, 178, 267

Grimm, 283, 284

Groos, 20, 26, 27, 59, 75, 78, 108, 146, 156, 172, 197, 199,

200, 232, 261

Grosse, 8, 87, 92, 225, 270

Grove, 254, 284

Guaita, 289

Gurney, 230

Guyau, 8, 13, 19, 28

Haddon, 147, 184, 225, 287, 300

Hall, 220

Hamilton, Aug., 275

Hamilton, W., 33, 37, 51, 54

Hanslick, 7

Hansson, 122

Harless, 80

Harnack, 130, 136

Hartland, 67, 219, 278, 280, 284

Hecker, 68

Heckewelder, 266

Hein, 271, 273, 274

Hellwald, 197

Helvetius, 61

Hemsterhuis, 122

Hennequin, 8

Herckenrath, 59

Heriot, 225, 268

Hernsheim, 262

Hickson, 235

Higgins, 169

Hill, 111

Hill and Thornton, 237

Hirn, 36, 46, 54, 116, 169, 170, 199, 275

Hirth, 135

Hoffman, 176

Hoffmeister, 237

Hogarth, 76

Holmes, Edm., 134

Holmes, William H., 147

Holub, 237

Holz, 117

Home, 76, 155

Howitt, 182

Hudson, 26, 198, 231

Humboldt, 212

Hyades, 164, 165, 237

Im Thurn, 158, 176, 226

Jacobowski, 94

Jagor, 235

James, 44, 48, 51-53

Jefferies, 61

Joest, 66, 212, 220, 222, 233, 234, 267, 272

Johnston, 226, 244, 246, 248

Johnstone, 92, 248, 276

Jouffroy, 75

Kane, 167

Kant, 2, 8, 32

Keating, 67

Kidd, 248

Kierkegaard, 38, 63

Kingsley, 152, 159, 174, 224, 226

Kirby, 220

Kleinpaul, 217

Kleinschmidt, 165, 262

Koeler, 225, 233

Kolbe, 263

Kollman, 257

Kotzebue, 159, 279

Kreemer, 284

Kubary, 220, 221, 265

Kussmaul, 151

Lafitau, 262

Lagrange, 256

Laing, 180, 217, 233, 259

Landa, de, 291

Lander, 67, 158, 226

Lang, A., 67, 279, 283

Lang, G., 237, 266

Lange, Carl, 44, 54, 62, 97

Lange, Julius, 105, 134

Le Bon, 82

Leconte de Lisle, 137

Lehmann, 31, 33, 34, 46, 54, 58

Lenormant, 287

Lenz, 160, 255

Lessing, 60

Lethermann, 166

Letourneau, 271

Levertin, 159

Lewin, 234, 235, 254, 262, 300

Lichtenberg, 96

Lichtenstein, 11

Lindsay, 194

Lippert, 209, 212, 224

Lipps, 75, 76

Lisiansky, 216

Livingstone, 265

Lloyd, G. T., 167

Lloyd, L., 189

Lobeck, 59, 65

Logau, 38

Lombroso, 40

Lubbock, 166, 174, 220

Lucretius, 293

Lukianos, 266

Lumholtz, 67, 285

Lütke, 220, 245, 262

Macpherson, 270

Magitot, 208

Mallery, 151, 152, 153, 156, 157, 176, 227

Man, 67, 222, 224

Maning, 270

Mann, 265

Mantegazza, 32, 50, 229, 267

March, 10, 134, 147

Markham, 179, 236, 254

Marques, 233, 262

Marryat, 274

Marsden, 219, 234, 235

Marshall, H. R., 6, 22, 24, 25, 34, 35-37, 40, 54, 57, 66

Marshall, W. E., 224

Martial, 164

Martin, 92, 235

Mason, 255

Mathew, 159, 233

Mathews, 233, 247

Matthews, 166, 292, 295

Maupassant, 94

Metz, 159, 217

Meyer, 177

Michelet, 40, 68, 110

Mill, 100

Milton, 282

Mitchell, 261

Molière, 64

Mollien, 160

Mooney, 172

Morgan, 11, 236, 266

Moseley, 216

Motolinia, 287

Mouat, 67

Müller, Fr., 233, 234

Muller, H., 259

Mulsant, 196

Mundy, 262

Musters, 279

Nachtigal, 233

Nagele, 271

Nevill, 237

Nietzsche, 103, 113

Nilsson, 189, 194, 201

Noiré, 255

Nyrop, 286

Oldfield, 158

Oviedo, 179

Papin, 281

Paracelsus, 282, 285

Parker, 182

Paulhan, 44, 51

Péron, 67

Perraud, 108

Peschel, 285

Petherick, 160

Poe, 122

Polack, 92, 159, 175, 179, 257, 270, 272

Posnett, 179, 276, 298

Poulton, 201

Powers, 262, 284, 287

Preller, 65

Preyer, 80

Pritchard, 67, 179, 268

Quilter, 131

Raffles, 290

Rafinesque, 156

Ralston, 283, 284

Rapp, 112

Ratzel, 218, 259

Read, 10

Reade, 11, 254

Réclus, 59, 173, 217, 293, 300

Reeves, 245, 262

Rengger, 253

Ribot, 40, 44, 63, 188

Richardson, 270

Rienzi, 92, 160, 233, 235, 259

Ritchie, 12

Robley, 66, 175, 222, 225

Rochas, 280, 281, 287, 290, 294

Rohde, 112

Romanes, 151, 194

Romilly, 165, 244, 272, 287

Roth, Ling, 67, 224

Roth, W. E., 153, 158, 216, 226, 237, 283

Ruskin, 6, 107, 181, 134

St. John, 160

Salvado, 254, 267

Sarasin, 224, 237, 244

Savage, 244

Sayce, 151, 153

Scherer, 60

Schiller, 8, 26

Schlegel, 87

Schmeltz, 175, 217, 220

Schmidkunz, 74, 79, 257

Schmidt, 237

Schneider, G. H., 192, 199

Schneider, W., 66, 160, 217, 222

Schomburgk, 265

Schoolcraft, 66, 166, 183, 265, 266, 276

Schürmann, 233

Schurtz, 206, 217, 218, 246, 291

Schweinfurth, 175, 268

Scott, 238

Seckendorff, 95

Selenka, 235, 274, 284, 287

Seneca, 24

Shelley, 59

Shooter, 179, 268

Shortland, 154, 225, 259, 262

Sirr, 217

Sittl, 59

Skeat, 283, 287, 290, 291

Smith, Adam, 74, 84

Smith, E. R., 255

Smyth, 66, 224, 259, 262

Soldi, 284

Somerville, 217

Souriau, 89, 256

Sparrman, 233, 263

Spencer and Gillen, 152, 167, 173, 219, 226, 233, 237, 280

Spencer, Herbert, 8, 21, 26, 37, 48, 49, 51, 67, 76, 79, 92, 109,

165, 166, 170, 179, 198, 222, 226, 229, 246, 248, 253, 258, 259,

261, 263, 267, 268, 279, 287

Sproat, 267

Stanley, 77

Starcke, 226

Stein, 130, 136

Steinen, 153, 156, 161, 168, 176, 216, 222, 224, 226, 268

Stern, 75

Stevens, 224

Stevenson, M. C., 283, 284

Stevenson, T. E., 284

Stewart, 53, 74, 76, 77, 80, 153

Stirling, 152, 226, 227

Stokes, 227

Stoll, 61, 79, 285, 292

Stolpe, 10, 223

Stout, 36, 37, 44

Strange, 196

Stricker, 77

Sturt, 79

Sully, 54, 57

Sully-Prudhomme, 95, 99

Svoboda, A., 217, 300

Svoboda, W., 177

Swettenham, 79

Symons, 122

Taine, 6, 23, 118, 119, 130, 131, 134

Taplin, 159, 160, 224, 226, 233, 251

Tarde, 74, 94, 149, 287

Taylor, 59, 66, 67, 287

Tennent, 237

Tennyson, 64

Tetens, 220, 262

Thompson, 76, 91, 97

The origins of art; a psychological & sociological inquiry · 第 21 / 22 章