Showing posts with label hypnosis. Show all posts
Showing posts with label hypnosis. Show all posts

8 Jan 2020

Freud (V1.3) “Report on My Studies in Paris and Berlin” in Standard Edition of the Complete Psychological Works, notes and quotes

 

by Corry Shores

 

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[The following is not summary. It simply catalogs particular parts of the text that I take note of, with a brief summary of all these notes. Proofreading is incomplete, so please forgive all my various mistakes. Section divisions are my own and do not reflect partitions in the text.]

 

 

 

Notes and Quotes from

 

Sigmund Freud

 

Standard Edition of the Complete Psychological Works

 

Volume 1

(1886-1889)

Pre-Psycho-Analytic Publications and Unpublished Drafts

3

“Report on My Studies in Paris and Berlin”

(1956 [1886])

 

 

 

 

 

Very brief summary of these notes:

Freud’s text, “Report on My Studies in Paris and Berlin,” provides an account of his studies at the Hospice de la Salpêtrière in Paris under Jean-Martin Charcot, who was using hypnotism and other means to greatly advance our knowledge of the neurosis hysteria. Freud was impressed by how Charcot was dealing with illnesses that have somatic symptoms but no obvious somatic causes. In other words, they seem more to be diseases of the psyche than strictly of the body. As a result of these studies, Freud’s research interests turned away from neuroanatomy toward psychopathology.

 

 

 

Brief summary of these notes (collecting those below):

(3.1) Editor’s Note: Freud began as a medical student interested in neuroanatomy. In 1885-1886, he studied abroad, in France, with a grant from his school, Vienna University. During his intellectual explorations, especially under the influence of Jean-Martin Charcot, Freud’s interests change from neurology to psychopathology. This text is important for giving us insight into that fateful turn in the history of human culture. (3.2) Freud used his traveling grant to study neuropathology at the Hospice de la Salpêtrière. One thing that attracted him about this school was Jean-Martin Charcot, who was “inclined to study rare and strange material.” Freud’s initial research interests were “anatomical problems” (namely,  “the secondary atrophies and degenerations that follow on affections of the brain in children.”) However, Freud found that the laboratory for these studies was inadequate, so he switched to studying  something else (namely, “the relations of the nuclei of the posterior column in the medulla oblongata.”) At the same time, Freud became deeply impressed by Charcot’s teachings on neuropathology and began to study almost exclusively under him. (3.3) Charcot claimed that our knowledge of anatomy and of organic diseases was nearly complete, and what remained to be studied were the neuroses (in other words, diseases with no obvious physiological cause). Among the neuroses, Charcot specialized in hysteria. Historically, this illness had been poorly studied up until then. Charcot demonstrated that its causes are not so strongly linked to the genitals (for, it was long thought to be linked to the uterus), because it occurs in men too, who may have traumatic hysteria. He also determined the precise physiological symptoms for properly diagnosing hysteria. (3.4) Charcot also used hypnotism to arrive “at a kind of theory of hysterical symptomatology.” He treated it with full scientific rigor. At the same time, it was amazing to behold, and Freud was deeply impressed by the technique.

 

 

 

 

Contents

 

Text Information

 

3.1

[Editor’s Note: This Text as Marking Freud’s Turn from Neurology to Psychopathology]

 

3.2

[Freud’s Initial Anatomical Interests and His Attraction to Charcot’s Teachings]

 

3.3

[Charcot’s Advancing the Studies on Hysteria]

 

3.4

[Charcot’s Amazing and Scientific Use of Hypnotism]

 

Bibliography

 

 

 

 

 

Text Information

BERICHT ÜBER MEINE MIT UNIVERSITÄTS-JUBILÄUMS REISESTIPENDIUM UNTERNOMMENE STUDIENREISE NACH PARIS UND BERLIN

(a) German Edition:

(1886 Date of composition.)

1960 In J. and R. Gicklhorn’s Sigmund Freuds akademische Laufbahn im Lichte der Dokumente, 82, Vienna.

 

(b) English Translation:

‘Report on my Studies in Paris and Berlin’

1956 Int. J. Psycho-Anal., 37 (1), 2-7. (Tr. James Strachey.)

The present translation is a slightly corrected reprint of the one published in 1956.

(3)

 

 

 

Summary

 

3.1

[Editor’s Note: This Text as Marking Freud’s Turn from Neurology to Psychopathology]

 

[Editor’s Note: Freud began as a medical student interested in neuroanatomy. In 1885-1886, he studied abroad, in France, with a grant from his school, Vienna University. During his intellectual explorations, especially under the influence of Jean-Martin Charcot, Freud’s interests change from neurology to psychopathology. This text is important for giving us insight into that fateful turn in the history of human culture.]

 

The editor, James Strachey, says that Freud’s report here marks  “a historic event: the diversion of Freud's scientific interests from neurology to psychology” (3). Freud is reporting on his accomplishments during a trip funded by Vienna University in 1885 (p.3), where he was studying medicine. He finished writing the report on the 22nd of April, 1886 (p.3). This text gives us insight into the way that Freud’s interests turned from neuroanatomy to psychopathology, by means of his work with Jean-Martin Charcot at the Pitié-Salpêtrière Hospital. Strachey marks that turning point as happening early December, 1885.

The high importance which Freud himself always attributed to his studies under Charcot is a matter of common knowledge. | This report marks his experience at the Salpêtrière with the utmost clarity as a turning point. When he arrived in Paris, his ‘chosen concern’ was with the anatomy of the nervous system; when he left, his mind was filled with the problems of hysteria and hypnotism. He had turned his back on neurology and was moving towards psychopathology. It would even be possible to assign a precise date to the change – in early December, 1885, when he ceased his work in the pathological laboratory of the Salpêtrière; but the inconvenient arrangements at that laboratory, which he himself puts forward as the explanation, were, of course, no more than a precipitating cause of the momentous shift in the direction of Freud's interests. Other and deeper factors were at work, and among them, no doubt, the great personal influence which Charcot evidently exercised on him.

(3-4)

[contents]

 

 

 

 

 

 

3.2

[Freud’s Initial Anatomical Interests and His Attraction to Charcot’s Teachings]

 

[Freud used his traveling grant to study neuropathology at the Hospice de la Salpêtrière. One thing that attracted him about this school was Jean-Martin Charcot, who was “inclined to study rare and strange material.” Freud’s initial research interests were “anatomical problems” (namely,  “the secondary atrophies and degenerations that follow on affections of the brain in children.”) However, Freud found that the laboratory for these studies was inadequate, so he switched to studying  something else (namely, “the relations of the nuclei of the posterior column in the medulla oblongata.”) At the same time, Freud became deeply impressed by Charcot’s teachings on neuropathology and began to study almost exclusively under him.]

 

[ditto]

In my application for the award of the Travelling Bursary from the University Jubilee Fund for the year 1885-6, I expressed my intention of proceeding to the Hospice de la Salpêtrière in Paris and of there continuing my studies in neuropathology. Several factors had contributed to this choice. [...] there was the great name of J.-M. Charcot, who has now been working and teaching in his hospital for seventeen years.

(5)

In consequence of the scarcity of any lively personal contact between French and German physicians, the | findings of the French school – some of them (upon hypnotism) highly surprising and some of them (upon hysteria) of practical importance – had been met in our countries with more doubt than recognition and belief; and the French workers, and above all Charcot, were obliged to submit to the charge of lacking in critical faculty or at least of being inclined to study rare and strange material and to dramatize their working-up of that material. Accordingly, when the honourable College of Professors distinguished me by the award of the Travelling Bursary, I gladly seized the opportunity which was thus offered of forming a judgement upon these facts based on my own experience [...].

(5-6)

J.-M. Charcot, when he was an ‘interne’ at the Salpêtrière in 1856, perceived the necessity of making chronic nervous diseases the subject of constant and exclusive study, and he determined to return to the Salpêtrière as a médecin des hôpitaux and never thereafter to leave it.

(7)

The man who is at the head of all these resources and auxiliary services is now sixty years of age. He exhibits the liveliness, cheerfulness, and formal perfection of speech which we are in the habit of attributing to the French national character; while at the same time he displays the patience and love of work which we usually claim for our own nation. The attraction of such a personality soon led me to restrict my visits to one single hospital and to seek instruction from one single man. I abandoned my occasional attempts at attending other lectures after I had become convinced that all they had to offer were for the most part well-constructed rhetorical performances. The only exceptions were Professor Brouardel's forensic autopsies and lectures at the Morgue, which I rarely missed.

(8)

My work in the Salpêtrière itself took on a different shape from what I had originally laid down for myself. I had arrived with the intention of making one single question the subject of a thorough investigation; and since in Vienna my chosen concern had been with anatomical problems, I had selected the study of the secondary atrophies and degenerations that follow on affections of the brain in children.

(8)

The laboratory was not at all adapted to the reception of an extraneous worker, and such space and resources as existed were made inaccessible owing to lack of any kind of organization. I thus found myself obliged to give up anatomical work3 and rest content with a discovery concerned with the relations of the nuclei of the posterior column in the medulla oblongata.

(8)

3. [This was at the beginning of December, 1885 (Jones. 1953, 231)].

(8)

Jones, E. (1953) Sigmund Freud: Life and Work, Vol. 1, London and New York. (Page references are to the English edition.) (xvii, 3, 8, 9, 15, 20, 24, 64, 157, 175-6, 213, 262, 284, 290)

(409)

In contrast to the inadequacy of the laboratory, the clinic at the Salpêtrière provided such a plethora of new and interesting material that it needed all my efforts to profit by the instruction which this favourable opportunity afforded. The weekly timetable was divided as follows. On Mondays Charcot delivered his public lecture, which delighted its hearers by the perfection of its form, while its subject-matter was familiar from the work of the preceding week. What these lectures offered was not so much elementary instruction in neuropathology as information, rather, on the Professor's latest researches; and they produced their effect primarily by their constant references to the patients who were being demonstrated. On Tuesdays Charcot held his ‘consultation externe’, at which his assistants brought before him for examination the typical or puzzling cases among the very large number attending the out-patient department.

(9)

[contents]

 

 

 

 

 

 

3.3

[Charcot’s Advancing the Studies on Hysteria]

 

[Charcot claimed that our knowledge of anatomy and of organic diseases was nearly complete, and what remained to be studied were the neuroses (in other words, diseases with no obvious physiological cause). Among the neuroses, Charcot specialized in hysteria. Historically, this illness had been poorly studied up until then. Charcot demonstrated that its causes are not so strongly linked to the genitals (for, it was long thought to be linked to the uterus), because it occurs in men too, who may have traumatic hysteria. He also determined the precise physiological symptoms for properly diagnosing hysteria.]

 

[ditto]

Charcot used to say that, broadly speaking, the work of anatomy was finished and that the theory of the organic diseases of the nervous system might be said to be complete: what had next to be dealt with was the neuroses. This pronouncement may, no doubt, be regarded as no more than an expression of the tum which his own activities have taken. For many years now his work has been centred almost entirely on the neuroses, and above all on hysteria, which, since the opening of the outpatient department and of the clinic, he has had an opportunity of studying in men as well as women.

I will venture to sum up in a few words what Charcot has achieved in the clinical study of hysteria. Up to now, hysteria can scarcely be regarded as a name with any well-defined meaning. The state of illness to which it is applied is only character- | ized scientifically by negative signs; it has been studied little and unwillingly; and it labours under the odium of some very widespread prejudices. Among these are the supposed dependence of hysterical illness upon genital irritation, the view that no definite symptomatology can be assigned to hysteria simply because any combination of symptoms can occur in it, and finally the exaggerated importance that has been attributed to simulation in the clinical picture of hysteria. During the last few decades a hysterical woman would have been almost as certain to be treated as a malingerer, as in earlier centuries she would have been certain to be judged and condemned as a witch or as possessed of the devil. In another respect there has, if anything, been a step backward in the knowledge of hysteria. The Middle Ages had a precise acquaintance with the ‘stigmata’ of hysteria, its somatic signs, and interpreted and made use of them in their own fashion.

(11)

In his study of hysteria Charcot started out from the most fully developed cases, which he regarded as the perfect types of the disease. He began by reducing the connection of the neurosis with the genital system to its correct proportions by demonstrating the unsuspected frequency of cases of male hysteria and especially of traumatic hysteria. In these typical cases he next found a number of somatic signs (such as the character of the attack, anaesthesia, disturbances of vision, hysterogenic points etc.), which enabled him to establish the diagnosis of hysteria with certainty on the basis of positive indications.

(11)

[contents]

 

 

 

 

 

 

3.4

[Charcot’s Amazing and Scientific Use of Hypnotism]

 

[Charcot also used hypnotism to arrive “at a kind of theory of hysterical symptomatology.” He treated it with full scientific rigor. At the same time, it was amazing to behold, and Freud was deeply impressed by the technique.]

 

[ditto]

By making a scientific study of hypnotism – a region of neuropathology which had to be wrung on the one side from scepticism and on the other from fraud – he himself arrived at a kind of theory of hysterical symptomatology.

(11)

Nor did I neglect the opportunity of acquiring a personal acquaintance with the phenomena of hypnotism, which are so astonishing and to which so little credence is attached, and in particular with the ‘grand hypnotisme’ [‘major hypnotism’] described by Charcot. I found to my astonishment that here were occurrences plain before one’s eyes, which it was quite impossible to doubt, but which were nevertheless strange enough not to be believed unless they were experienced at first hand. I saw no sign, however, that Charcot showed any special preference for rare and strange material or that he tried to exploit it for mystical purposes. On the contrary, he regarded hypnotism as a field of phenomena which he submitted to scientific description, just as he had done many years before with multiple sclerosis or progressive muscular atrophy. He did not seem to me to be at all one of those men who marvel at what is rare rather than what is usual; and the whole trend of his mind leads me to suppose that he can find no rest till he has correctly described and classified some phenomenon with which he is concerned, but that he can sleep quite soundly without having arrived at the physiological explanation of that phenomenon.

I have given considerable space in this Report to remarks on hysteria and hypnotism because I had to deal with what was completely novel and the subject of Charcot’s own particular studies.

(13)

[contents]

 

 

 

 

 

 

 

 

 

 

Bibliography:

 

Freud, Sigmund. “Report on My Studies in Paris and Berlin” (1956 [1886]). In The Standard Edition of the Complete Psychological Works, Vol. 1, (1886–1899): Pre-Psycho-Analytic Publications and Unpublished Drafts, edited and translated by James Strachey, 1–15. London: Hogarth, 1966.

.

 

 

.

18 Feb 2010

Hypnotized by Determinism §97 Illustration from Hypnotic Suggestion. Bergson. Time and Free Will


by Corry Shores
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[Bergson, Entry Directory]
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[The following is summary; my commentary is in brackets.]





Hypnotized by Determinism


Henri Bergson

Time and Free Will: An Essay on the Immediate Data of Consciousness
Essai sur les données immédiates de la conscience

Ch.III
The Organization of Conscious States; Free Will
De l'organization des états de conscience: la liberté

Part XXX: Physical Determinism


Previously Bergson discussed the theory of psychological determinism. Some argue that one mental state is the necessary result of prior ones. Bergson considered an example that might at first seem to support this theory. We are having a conversation. We are interrupted. Then we both return to a different but common idea, as if it followed naturally from where we left off. Despite this seeming to be evidence, Bergson has a different evaluation. The prior parts of our conversation did not produce in advance the present mental states. Rather, we have our current mental state that for some unknown reason is common between us, and then retroactively we each in our own way trace this state back to prior ones. Yet each one of us will trace it differently. So it must be that the supposed antecedent states are really ones that are obtained after the present ones happen.


§97 Illustration from Hypnotic Suggestion

Bergson will further illustrate with the example of hypnotism. The patient is put in a trance. The hypnotist gives her a suggestion. Later the patient will perform the suggested action. Up to then, she undergoes a series of mental states leading to the action. It seems then that the resulting act was predetermined by the sequence of previous states. Bergson offers his different interpretation. It was not the prior states that produced the action. Rather, the action was going to happen anyway. In a sense, the patient was attracted to doing that action. So then, she goes through the series of mental states that would lead her to that action. So the intermediary states were actually produced not by prior ones but by future ones; "these states are really effects and not causes" (157c).

Determinists will notice that this explanation still involves acting according to the will of the hypnotist. [But note that when we perform an action suggested under hypnosis, we later perform it, despite it not being what we normally would have done.] Bergson points-out that when we commit this act, we will it for no other reason than for willing's sake.





Images of the pages summarized above, from the English translation [click to enlarge]:





Images of the pages summarized above, from the original French [click to enlarge]:






Bergson, Henri. Time and Free Will: An Essay on the Immediate Data of Consciousness. Transl. F.L. Pogson. New York: Dover Publications, Inc., 2001. Available online at:http://www.archive.org/details/timeandfreewill00pogsgoog

Bergson, Henri. Essai sur les données immédiates de la conscience. Originally published, Paris: Les Presses universitaires de France, 1888. Available online at:http://www.archive.org/details/essaisurlesdonn00berguoft


21 Jan 2009

Bergson, Time and Free Will, Chapter 1, §11 "Stages in the Aesthetic Emotion"


by Corry Shores
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[The following is summary; my commentary is in brackets.]




Bergson, Time and Free Will (Essai sur les données immédiates de la conscience)


Chapter I, "The Intensity of Psychic States"

Part III: "The Aesthetic Feelings"


§11 "Stages in the Aesthetic Emotion"


We saw previously that art hypnotizes us and affects us through hypnotic suggestion.


[The loss of a loved one causes us profound grief. We may feel grief as well when watching a tragedy. Like the grace of the dancer, the dramatists cast a spell on us and forge a sympathetic bond. The pain that the tragic character suffers is neither our pain nor the pain of someone we know or care about. And the emotions that the actor plays are not real emotions. They are representations. But they suggest images that we associate with real causes of pain.]


For Bergson, any feeling has the potential to be an aesthetic feeling. All that is required is that the feeling is suggested and not caused.


Bergson will now explain why we mistakenly think that aesthetic emotions may take on varying degrees of intensity, rather than each be no more than qualitatively different.


We might not value art or music that uses shock to command our attention. It seems cheap. So we do not measure the artwork's merit according to its power of commanding our emotions. A Shakespeare play will carry us through a wealth of complex emotions. We value artistic masterpieces according to the richness of the feelings they give us.


Any one moment of our lives might not by itself be rich or complex. But if we look at larger portions of our lives, we find many ironies, paradoxes, surprises, contradictions, puzzles, dramatic swings, and the like. So if we could capture a portion of our histories rather than just a moment, we could express a very rich and complex feeling.


Bergson says this is precisely the artist's talent. He suggests to us feelings and thoughts that "sum up more or less a considerable part of his history." (17d) One suggestion shades each of our thousands of constituent states so variously that the feeling is indescribable. So much, that we feel we need to enter into the artist's life in order to grasp the emotion in its original complexity.


Because the feeling is inexplicit [and hence intense in the Deleuzean sense], the artist cannot enable us to understand it. However, he uses his finely crafted technique to skillfully select those "outward signs of his emotions" that our bodies are most likely to imitate mechanically. Too much will just be shock, so the artist affects us subtly. He transports us then to the indefinable psychological state he wishes to express. (17-18)


The painter for example paints her work long before we view it, and often does so in some other part of the world. But by the hypnotic power of her technique, she breaks down these temporal and spatial barriers between her consciousness and ours. And the richer the emotions and ideas the artwork expresses, the higher we judge its beauty. The emotions are rich when they evoke a wide range of changing complex feelings. When a greater number of our constituent states contribute to the complex emotion, we perceive a higher degree of depth to the feeling. (18c)


[Next entry in this series.]

Images from the pages summarized above, in the English Translation [click on the image for an enlargement]:





Images from the pages summarized above, in the original French [click on the image for an enlargement]:










Bergson, Henri. Time and Free Will: An Essay on the Immediate Data of Consciousness, Transl. F. L. Pogson, (New York: Dover Publications, Inc., 2001).

Available online at:

http://www.archive.org/details/timeandfreewill00pogsgoog


French text from:

Bergson, Henri. Essai sur les données immédiates de la conscience. Originally published Paris: Les Presses universitaires de France, 1888.

http://www.archive.org/details/essaisurlesdonn00berguoft




19 Jan 2009

Bergson, Time and Free Will, Chapter 1, §10 "The Feeling of Beauty"


by Corry Shores
[Search Blog Here. Index-tags are found on the bottom of the left column.]

[Central Entry Directory]
[Bergson, Entry Directory]
[Bergson Time and Free Will, Entry Directory]


[The following is summary; my commentary is in brackets.]




Bergson, Time and Free Will (Essai sur les données immédiates de la conscience)


Chapter I, "The Intensity of Psychic States"

Part III: "The Aesthetic Feelings"


§10 "The Feeling of Beauty: Art Puts to Sleep Our Active and Resistant Powers and Makes Us Responsive to Suggestion"


We are mistaken to think that the feelings we have when seeing something beautiful may increase or decrease in intensity (13-14).


Many consider nature to possess beauty inherently, and exactly what makes it beautiful remains mysterious to us. They furthermore believe that an artist expresses the same sort of beauty that nature bears. But because nature's beauty remains mysterious, so too does art's beauty remain mysterious. (14a.b)


Bergson proposes an alternative perspective. We intentionally and consciously make art beautiful. So there are some specific properties that we find beautiful. Then by chance, nature sometimes exhibits these properties. But because we consider nature as somehow primordial, we mistakenly regard it as the origin for what we call beauty. (14b)


Thus,


it seems more in conformity with the rules of a sound method to study the beautiful first in the works in which it has been produced by a conscious effort, and then to pass on by imperceptible steps from art to nature.

(14bc)

il semble plus conforme aux règles d'une saine méthode d'étudier d'abord le beau dans les œuvres, où il a été produit par un effort conscient, et de descendre ensuite par transitions insensibles de l'art à la nature, qui est artiste à sa manière.

(11a)

Bergson will now proceed to explain why art is essentially hypnosis.


Our sensations and ideas normally proceed in an irregular flow. They do not usually come at regular paces, but rather their speeds vary continuously. However, when we listen to music, its steady rhythm and measure diverts this natural flow, and causes our attention "to swing to and fro between fixed points." (14-15)


Previously we saw how we sympathize with the dancer's graceful movements. The result is that we take-on the dancer's motional tendencies. So if the dancer's movement is abruptly halted, our bodies want to carry it on, because they have been synchronized with it all along.


So our sympathetic connection with the dancer gives us the feeling that we are the dancer's puppet master. But because of the control the dancer has over us, we instead are the puppets really.


Like a lullaby, the steadiness of the rhythm pacifies us, and it places us in a hypnotic state. But this is so for all art:

the object of art is to put to sleep the active or rather resistant powers of our personality, and thus to bring us into a state of perfect responsiveness, in which we realize the idea that is suggested to us and sympathize with the feeling that is expressed. In the processes of art we shall find, in a weakened form, a refined and in some measure spiritualized version of the processes commonly used to induce the state of hypnosis.

(14c.d)

l'objet de l'art est d'endormir les puissances actives ou plutôt résistantes de notre personnalité, et de nous amener ainsi à un état de docilité parfaite où nous réalisons l'idée qu'on nous suggère, où nous sympathisons avec le sentiment exprimé. Dans les procédés de l'art on retrouvera sous une forme atténuée, raffinés et en quelque sorte spiritualisés, les procédés par lesquels on obtient ordinairement l'état d'hypnose.

(11b)

Once we are placed in this hypnotic state, art has heightened powers of affecting us by means of suggestion. This is why the sounds of nature, as beautiful as they are, do not overcome us as powerfully as music: "nature confines itself to expressing feelings, whereas music suggests them to us." (15a)


Poets use meter to create a steady rhythm for the words' procession. That alone has a hypnotic effect. And each word or phrase conjures an image. So these images pass before our eyes to a steady beat. Moreover, each image evokes an emotion, whose sequence also moves steadily and in synchrony with the other repetitions.

but we should never realize these images so strongly without the regular movements of the rhythm by which our soul is lulled into self-forgetfulness, and, as in a dream, thinks and sees with the poet.

(15bc)

mais ces images ne se réaliseraient pas aussi fortement pour nous sans les mouvements réguliers du rythme, par lequel notre âme, bercée et endormie, s'oublie comme en un rêve pour penser et pour voir avec le poète.

(11d)

Statues capture bodies in movement, as though halted instantaneously.

the pale immobility of the stone causes the feeling expressed or the movement just begun to appear as if they were fixed for ever, absorbing our thought and our will in their own eternity.

(15d)

la pale immobilité de la pierre donne au sentiment exprimé, au mouvement commencé, je ne sais quoi de définitif et d'éternel, où notre pensée s'absorbe et où notre volonté se perd.

(12a)

The rhythm of music and poetry fix us into a state where the normal flow of time is suspended. Sculpture does as well by placing the spectator into a state of consciousness where time is eternal and still.

Architecture too has a "startling immobility," but its formal elements nonetheless produces rhythmic effects in the spectator. (15d)

The symmetry of form, the indefinite repetition of the same architectural motive, causes our faculty of perception to oscillate between the same and the same again, and gets rid of those customary incessant changes which in ordinary life bring us back without ceasing to the consciousness of our personality: even the faint suggestion of an idea will then be enough to make the idea fill the whole of our mind.

(15-16)

La symétrie des formes, la répétition indéfinie du même motif architectural, font que notre faculté de percevoir oscille du même au même et se déshabitue de ces changements incessants qui, dans la vie journalière, nous ramènent sans cesse à la conscience de notre personnalité: l'indication, même légère, d'une idée suffira alors à remplir de cette idée notre âme entière.

(12b.c)

So art does not try to express its feelings. Rather, it tries to impress feelings upon us through hypnotic suggestion. Yet, nature as well is suggestion. But, it "does not command the resources of rhythm." (16b) Nature has earned our sympathies from a friendship spanning all the generations of humanity, so that "the slightest indication by nature of a feeling arouses sympathy in our minds, just as a mere gesture on the part of the hypnotist is enough to force the intended suggestion upon a subject accustomed to his control." (16c)


Bergson then claims that nature evokes the most sympathy when it is as regular and even as possible:

And this sympathy is shown in particular when nature displays to us beings of normal proportions, so that our attention is distributed equally over all the parts of the figure without being fixed on any one of them: our perceptive faculty then finds itself lulled and soothed by this harmony, and nothing hinders any longer the free play of sympathy, which is ever ready to come forward as soon as the obstacle in its path is removed.

(16c.d)

Et cette sympathie se produit en particulier quand la nature nous présente des êtres aux proportions normales, tels que notre attention se divise également entre toutes les parties de la figure sans se fixer sur aucune d'elles : notre faculté de percevoir se trouvant alors bercée par cette espèce d'harmonie, rien n'arrête plus le libre essor de la sensibilité, qui n'attend jamais que la chute de l'obstacle pour être émue sympathiquement.

(12c)


[Next entry in this series.]




Images from the pages summarized above, in the English Translation [click on the image for an enlargement]:







Images from the pages summarized above, in the original French [click on the image for an enlargement]:










Bergson, Henri. Time and Free Will: An Essay on the Immediate Data of Consciousness, Transl. F. L. Pogson, (New York: Dover Publications, Inc., 2001).

Available online at:

http://www.archive.org/details/timeandfreewill00pogsgoog


French text from:

Bergson, Henri. Essai sur les données immédiates de la conscience. Originally published Paris: Les Presses universitaires de France, 1888.

http://www.archive.org/details/essaisurlesdonn00berguoft