Psychology, Robert S. Woodworth [android based ebook reader .txt] 📗

it gratifies itself symbolically in a dream; the neighbor's wife not appearing at all in the dream, but the neighbor's automobile instead, which the neighbor cannot run properly, while the dreamer manages it beautifully.

Freud has claimed the dream as his special booty, and insists that all dreams are wish-fulfilments, even those that seem mere fantastic play of imagination, since, as he sees it, no mental activity could occur except to gratify some wish. Further, he holds, most if not all dreams are fulfilments of suppressed wishes, and these are either sex or spite wishes, the spite wishes growing out of the interference of other people with our sex wishes.

The objection to Freud's theory of dreams is, first, that he fails to see how easy-running the association or recall mechanism is. It isn't necessary to look for big, mysterious driving forces, when we know that A makes you think of B, and B of C, with the greatest ease. The dreamer isn't laboring, he is idly playing, and his images come largely by free association, with personal desires giving some steer.

Another objection is that Freud overdoes the Unconscious; suppressed wishes are usually not so unconscious as he describes them; they are unavowed, unnamed, unanalyzed, but conscious for all that. It is not so much the unconscious wish that finds outlet in dreams and daydreams, as the unsatisfied wish, which may be perfectly conscious.

Another very serious objection to Freud is that he overdoes the sex motive or "libido". He says there are two main tendencies, that of self-preservation and that of reproduction, but that the former is ordinarily not much subject to suppression, while the latter is very much under the {508} social ban. Consequently the Unconscious consists mostly of suppressed sex wishes. Evidently, however, Freud's analysis of human motives is very incomplete. He does not clearly recognize the self-assertive tendency, which, as a matter of fact, is subjected to much suppression from early childhood all through life, and which undoubtedly has as much to do with dreams, as it has with daydreams. Freud has given an "impressionistic" picture, very stimulating and provocative of further exploration, but by no means to be accepted as a true and complete map of the region.

Autistic Thinking

Dreaming, whether awake or asleep, is free imagination. It does not have to check up with any standard. So long as it is interesting at the moment and gratifies the dreamer in any way, it serves its purpose. Sometimes the daydreamer exercises some control, breaking off a spiteful or amorous dream because he thinks it had better not be indulged; but in this he ceases to be simply a daydreamer. Daydreaming, by itself, is an example of what is called "autistic thinking", which means thinking that is sufficient unto itself, and not subjected to any criticism. Autistic thinking gratifies some desire and that is enough for it. It does not submit to criticism from other persons nor from other tendencies of the individual, nor does it seek to square itself with the real world.

Autistic thinking, indulged in by every imaginative person in moments of relaxation, is carried to an absurd extreme by some types of insane individuals. One type withdraws so completely from reality as to be inaccessible in the way of conversation, unresponsive to anything that happens, entirely immersed in inner imaginings. Others, while living in the world about them, transform it into a make-believe {509} world by attaching meanings to things and persons as suits themselves. This institution, in which the subject is confined, is his royal palace, the doctors are his officials, the nurses his wives, "thousands of them, the most beautiful women in creation". Or the delusion may take the line of the "suffering hero", the subject imagining himself a great man shut up in this place by the machinations of his enemies; the doctors are spies and enemy agents, and the nurses also act suspiciously; his food is poisoned, and he is kept in a weak and helpless condition, all out of fear of him. It is impossible to argue the patient out of his delusions by pointing out to him how clearly they conflict with reality; he evades any such test by some counter-argument, no matter how flimsy, and sticks to his dream or make-believe.

Autistic thinking is contrasted with realistic thinking, which seeks to check up with real facts; it may be contrasted also with socialized thinking, which submits to the criticism of other people; and it may even be contrasted with self-criticized thinking, in which the individual scrutinizes what he has imagined, to see whether it is on the whole satisfactory to himself, or whether it simply gratified a single or momentary impulse that should be balanced off by other tendencies.

Invention and Criticism

"Criticism"--the word has been used repeatedly, and it is time it gave an account of itself. Criticism evidently demands balancing off one desire by another. One tendency gets criticized by running afoul of another tendency, one idea by conflicting with another idea. We concoct a fine joke to play on our friend; but then the thought comes to us that he may not take it kindly; we don't want to break with our friend, and so we regretfully throw our promising invention on the scrap heap. That is self-criticism, the {510} balancing off of one impulse by another. Self-criticism is obnoxious to the natural man, who prefers to follow out any tendency that has been aroused till it reaches its goal; but he learns self-criticism in the hard school of experience. For plenty of criticism is directed upon the individual from without.

Criticism is directed upon him by the facts of the real world, so soon as he tries to act out what he has imagined. Often his invention will not work, his plan does not succeed, and he is involved in chagrin and even pain. He must perforce cast away his plan and think up a new one. At this point the "weak brother" is tempted to give up trying, and take refuge in autistic thinking, but the stronger individual accepts the challenge of reality. He sees that an invention is not satisfactory unless it will really work, and sets about learning what will work and what not, so accumulating observations that later enable him to criticize his own ideas, to some extent, before trying them out on real things.

Criticism is directed upon the individual from the side of other people, who from the day he first begins to tell his childish imaginings, are quite free with their objections. Humiliated by this critical reception of his ideas, the individual may resolve to keep them to himself for the future, and draw away, again, towards autistic thinking; or, more forcefully, he may exert himself to find some idea that will command the approval of other people. If he can take rebuffs goodnaturedly, he soon finds that social criticism can be a great help, that two heads are better than one in planning any invention that needs to work. He accumulates knowledge of what will pass muster when presented to other people, and thus again learns self-criticism.

Self-criticism is helped by such rules as to "think twice", to "sleep on it before deciding", to "drop the matter for a time and come back to it and see whether it still looks {511} the same". When you are all warmed up over an idea, its recency value gives it such an advantage over opposing ideas that they have no chance, for the moment, of making themselves felt in the line of criticism.

I once heard the great psychologist, and great writer, William James, make a remark that threw some light on his mode of writing. In the evening, he said, after warming up to his subject, he would write on and on till he had exhausted the lead he was following, and lay the paper aside with the feeling, "Good! Good! That's good". The next morning, he said, it might not seem good at all. This calls to mind the old advice to writers about its being "better to compose with fury and correct with phlegm than to compose with phlegm and correct with fury". The phlegmatic critical attitude interferes considerably with the enthusiastic inventive activity. Give invention free rein for the time being, and come around with criticism later.

Some over-cautious and too self-critical persons, though rather fertile in ideas, never accomplish much in the way of invention because they cannot let themselves go. Criticism is always at their elbow, suggesting doubts and alternatives and preventing progress in the creative activity, instead of biding its time and coming in to inspect the completed result. For a similar reason, much of the best inventive work--writing, for example, or painting--is done in prolonged periods of intense activity, which allow time for invention to get warmed to its task, when it takes the bit in its teeth and dashes off at a furious speed, leaving criticism to trail along behind.

Invention in the service of art or of economic and social needs is controlled imagination, realistic, socialized, subjected to criticism. It cannot afford to be autistic, but must meet objective or social standards. Mechanical inventions must work when translated into matter-of-fact wood and iron, and {512} must also pass the social test of being of some use. Social inventions of the order of institutions, laws, political platforms and slogans, plans of campaign, must "work" in the sense of bringing the desired response from the public. Social imagination of the very important sort suggested by the proverbs, "Seeing ourselves as others see us", or "Putting ourselves in the other fellow's place"--for it is only by imagination that we can thus get outside of our own experience and assume another point of view--must check up with the real sentiments of other people.

The Enjoyment of Imaginative Art

It requires imagination to enjoy art as well as to produce it. The producer of the work of art puts the stimuli before you, but you must make the response yourself, and it is an inventive response, not a mere repetition of some response you have often made. The novelist describes a character for you, and you must respond by putting together the items in the description so as to conceive of a character you have never met. The painter groups his figures before you, but you must get the point of the picture for yourself. The musical composer provides a series of chords, but you must get the "hang" of the passage for yourself, and if he has introduced a novel effect, it may not be easy to find any beauty in it, at least on the first hearing.

Art, from the consumer's side, is play. It is play of the imagination, with the materials conveniently presented by the artist. Now, as art is intended to appeal to a consumer (or enjoyer), the question as to sources of satisfaction in the enjoyment of art is fundamental in the whole psychology of art, production as well as consumption.

We have the same questions to ask regarding the enjoyment of a novel as regarding a daydream. Novel-reading is daydreaming with the materials provided by the {513} author, and gratifies the same motives. A novel to be really popular must have a genuine hero or heroine--some one with whom the reader can identify himself. The frequency of novels in which the hero or heroine is a person of high rank, or wins rank or wealth in the course of the story, is a sign of appeal to the mastery motive. The humble reader is tickled in his own self-esteem by identifying himself for the time with the highborn or noble or beautiful character in the story. The escape motive also is relied upon to furnish the excitement of the story, which always brings the hero into danger or difficulty and finally rescues him, much to the reader's relief. Love stories appeal, of course, to the sex impulse, humorous stories to laughter, and