YOUR MIND AND HOW TO USE IT/PART 11
CHAPTER XI.
The Emotions.
AS
we have seen in the preceding lessons, an emotion is the more complex phase of
feeling. As a rule an emotion arises from a number of feelings. Moreover, it is
of a higher order of mental activity. As we have seen, a feeling may arise
either from a physical sensation or from an idea. Emotion, however, as a rule,
is dependent upon an idea for its expression, and always upon
an idea for its direction and its continuance. Feeling, of course, is the
elemental spirit of all emotional states, and, as an authority has said, is the
thread upon which the emotional states are strung.
Halleck
says: "When representative ideas appear, the feeling in combination with
them produces emotion. After the waters of the Missouri combine with another
stream, they receive a different name, although they flow toward the gulf in as
great volume as before. Suppose we liken the feeling due to sensation to the
Missouri River; the train of representative ideas to the Mississippi before its
junction with the Missouri. Emotion may then be likened to the
Mississippi after its junction—after feeling has combined
with representative ideas. The emotional stream will not be broader and deeper
than before. This analogy is employed only to make the distinction clearer. The
student must remember that mental powers are never actually as distinct as two
rivers before their union. * * * The student must beware of thinking that we
have done with feeling when we consider emotion. Just as the waters of the
Missouri flow on until they reach the gulf, so does feeling run through every
emotional state." In the above analogy the term "representative
ideas," of course, means the ideas of memory and imagination as explained
in previous chapters.
There
is a close relation between emotion and the physical expression thereof—a
peculiar mutual action and reaction between the mental state and the physical
action accompanying it. Psychologists are divided regarding this relation. One
school holds that the physical expression follows and results from the mental
state. For instance, we hear or see something, and thereupon experience the
feeling or emotion of anger. This emotional feeling reacts upon the body and
causes an increased heart beat, a tight closing of the lips, a frown and
lowered eyebrows, and clinched fists. Or we may perceive something which causes
the feeling or emotion of fear, which reacts upon the body and produces pallor,
raising of the hair, dropping of the jaw, opening of the eyelids, trembling of
the legs, etc. According to this school, and the popular idea, the mental state
precedes and causes the physical expression.
But
another school of psychology, of which the late Prof. William James is a
leading authority, holds that the physical expression precedes and causes the
mental state. For instance, in the cases above cited, the perception of the
anger-causing or fear-causing sight first causes a reflex action upon the
muscles, according to inherited race habits of expression. This muscular
expression and activity, in turn, is held to react upon the mind and to cause
the feeling or emotion of anger or fear, as the case may be. Professor James,
in some of his works, makes a forcible argument in support of this theory, and
his opinions have influenced the scientific thought of the day upon this
subject. Others, however, have sought to combat his theory by equally forcible
argument, and the subject is still under lively and spirited discussion in
psychological circles.
Without
taking sides in the above controversy, many psychologists proceed upon the
hypothesis that there is a mutual action and reaction between emotional mental
states and the appropriate physical expression thereof, each in a measure being
the cause of the other, and each likewise being the effect of the other. For
instance, in the cases above cited, the perception of the anger-producing
or fear-producing sight causes, almost or quite simultaneously, the emotional
mental state of anger or fear, as the case may be, and the physical expression
thereof. Then rapidly ensues a series of mental and physical reactions. The
mental state acts upon the physical expression and intensifies it. The physical
expression in turn reacts upon the mental state and induces a more intense
degree of the emotional feeling. And so on, until the mental state and physical
expression reach their highest point and then begin to subside from exhaustion
of energy. This middle-ground conception meets all the requirements of the
facts, and is probably more nearly correct than either extreme theory.
Darwin
in his classic work, "The Expression of the Emotions in Man and
Animals," has thrown a great light on the subject of the expression of
emotion in physical motions. The Florentine scientist, Paolo Mantegazza, added
to Darwin's work with ideas of his own and countless examples drawn from his
own experience and observation. The work of François Delsarte, the founder of
the school of expression which bears his name, is also a most valuable addition
to the thought on this subject. The subject of the relation and reaction
between emotional feeling and physical expression is a most fascinating one,
and one in which we may expect interesting and valuable discoveries during
the next twenty years.
The
relation and reaction above mentioned are interesting not only from the
viewpoint of theory but also because of their practicable application in
emotional development and training. It is an established truth of psychology
that each physical expression of an emotional state serves to intensify the
latter; it is pouring oil on the fire. Likewise, it is equally true that the
repression of the physical expression of an emotion tends to restrain and
inhibit the emotion itself.
Halleck
says: "If we watch a person growing angry, we shall see the emotion
increase as he talks loud, frowns deeply, clinches his fist, and gesticulates
wildly. Each expression of his passion is reflected back upon the original
anger and adds fuel to the fire. If he resolutely inhibits the muscular
expressions of his anger, it will not attain great intensity, and it will soon
die a quiet death. * * * Not without reason are those persons called cold
blooded who habitually restrain as far as possible the expression of their
emotion; who never frown or throw any feeling into their tones, even when a
wrong inflicted upon some one demands aggressive measures. There is here no
wave of bodily expression to flow back and augment the emotional state."
In
this connection we call your attention to the familiar and oft-quoted
passage from the works of Prof. William James: "Refuse to express a
passion and it dies. Count ten before venting your anger and its occasion seems
ridiculous. Whistling to keep up courage is no mere figure of speech. On the
other hand, sit all day in a moping posture, sigh and reply to everything with
a dismal voice, and your melancholy lingers. There is no more valuable precept
in moral education than this, as all who have experience know: If we wish to
conquer undesirable emotional tendencies in ourselves, we must assiduously, and
in the first instance cold-bloodedly, go through the outward movements of those
contrary dispositions which we prefer to cultivate. Smooth the brow, brighten
the eye, contract the dorsal rather than the ventral aspect of the frame, and
speak in a major key, and your heart must be frigid indeed if it does not
gradually thaw."
Along
the same lines Halleck says: "Actors have frequently testified to the fact
that emotion will arise if they go through the appropriate muscular movements.
In talking to a character on the stage, if they clinch the fists and frown,
they often find themselves becoming really angry; if they start with
counterfeit laughter, they find themselves growing cheerful. A German professor
says that he cannot walk with a schoolgirl's mincing step and air without
feeling frivolous."
The
wise student will acquire a great control over his emotional nature if he will
re-read and study the above statements and quotations until he has grasped
their spirit and essence. In those few lines he is given a philosophy of
self-control and self-mastery that will be worth much to him if he will but
apply it in practice. Patience, perseverance, practice, and will are required,
but the reward is great. Even to those who have not the persistency to apply
this truth fully, there will be a partial reward if they will use it to the
extent of restraining so far as possible any undue physical expression of
undesirable emotional excitement.
Some
writers seem to regard capacity for great emotional excitement and expression
as a mark of a rich and full character or noble soul. This is far from being
true. While it is a fact that the cultivation of certain emotions tends to
create a noble character and a full life, it is equally true that the tendency
to "gush" and indulge in hysterical or sentimental excesses is a mark
of an ill-controlled nature and a weak, rather than strong, character.
Moreover, it is a fact that excess in emotional excitement and expression tends
toward the dissipation of the finer and nobler feelings which otherwise would
seek an outlet in actual doing and practical action. In the language of the old
Scotch engineer in the story, they are like the old locomotive
which "spends sae much steam at the whustle that she hae nane left to
gae by."
Emotional
excitement and expression are largely dependent upon habit and indulgence,
although there is a great difference, of course, in the emotional nature and
tendencies of various persons. Emotions, like physical actions or intellectual
processes, become habitual by repetition. And habit renders all physical or
mental actions easy of repetition. Each time one manifests anger, the deeper
the mental path is made, and the easier it is to travel that path the next time.
In the same way each time that anger is conquered and inhibited, the easier
will it be to restrain it the next time. In the same way desirable habits of
emotion and expression may be formed.
Another
point in the cultivation, training, and restraint of the emotions is that which
has to do with the control of the ideas which we allow to come into the mind.
Ideative habits may be formed—are formed, in fact, by the majority
of persons. We may cultivate the habit of looking on the bright side of things;
of looking for the best in those we meet; of expecting the best things instead
of the worst. By resolutely refusing to give welcome to ideas calculated to
arouse certain emotions, feelings, passions, desires, sentiments, or similar
mental states, we may do much to prevent the arousing of the emotion
itself. Emotions usually are called forth by some idea, and if we shut out the
idea we may prevent the emotional feeling from appearing. In this connection
the universal rule of psychology may be applied: A mental state may be
inhibited or restrained by turning the attention to the opposite mental state.
The
control of the attention is really the control of every mental state.
We
may use the will in the direction of the control of the attention—the
development and direction of voluntary attention—and thus actually control
every phase of mental activity. The will is nearest to the ego, or central
being of man, and the attention is the chief tool and instrument of the will.
This fact cannot be repeated too often. If it is impressed upon the mind it
will prove to be useful and valuable in many emergencies of mental life. He who
controls his attention controls his mind, and in controlling his mind controls
himself.
NEXT CHAPTER
Comments
Post a Comment