lightly, to modify them gladly. We tend, also, to realize more and more clearly when our ideas started, where they started, how they came to us, why we accepted them. All useful history is antiseptic in this fashion. It enables us to know what fairy tale, what school book, what tradition, what novel, play, picture, phrase, planted one preconception in this mind, another in that mind.
4
Those who wish to censor art do not at least underestimate this influence. They generally misunderstand it, and almost always they are absurdly bent on preventing other people from discovering anything not sanctioned by them. But at any rate, like Plato in his argument about the poets, they feel vaguely that the types acquired through fiction tend to be imposed on reality. Thus there can be little doubt that the moving picture is steadily building up imagery which is then evoked by the words people read in their newspapers. In the whole experience of the race there has been no aid to visualization comparable to the cinema. If a Florentine wished to visualize the saints, he could go to the frescoes in his church, where he might see a vision of saints standardized for his time by Giotto. If an Athenian wished to visualize the gods he went to the temples. But the number of objects which were pictured was not great. And in the East, where the spirit of the second commandment was widely accepted, the portraiture of concrete things was even more meager, and for that reason perhaps the faculty of practical decision was by so much reduced. In the western world, however, during the last few centuries there has been an enormous increase in the volume and scope of secular description, the word picture, the narrative, the illustrated narrative, and finally the moving picture and, perhaps, the talking picture.
Photographs have the kind of authority over imagination to-day, which the printed word had yesterday, and the spoken word before that. They seem utterly real. They come, we imagine, directly to us without human meddling, and they are the most effortless food for the mind conceivable. Any description in words, or even any inert picture, requires an effort of memory before a picture exists in the mind. But on the screen the whole process of observing, describing, reporting, and then imagining, has been accomplished for you. Without more trouble than is needed to stay awake the result which your imagination is always aiming at is reeled off on the screen. The shadowy idea becomes vivid; your hazy notion, let us say, of the Ku Klux Klan, thanks to Mr. Griffiths, takes vivid shape when you see the Birth of a Nation. Historically it may be the wrong shape, morally it may be a pernicious shape, but it is a shape, and I doubt whether anyone who has seen the film and does not know more about the Ku Klux Klan than Mr. Griffiths, will ever hear the name again without seeing those white horsemen.
5
And so when we speak of the mind of a group of people, of the French mind, the militarist mind, the bolshevik mind, we are liable to serious confusion unless we agree to separate the instinctive equipment from the stereotypes, the patterns, and the formulae which play so decisive a part in building up the mental world to which the native character is adapted and responds. Failure to make this distinction accounts for oceans of loose talk about collective minds, national souls, and race psychology. To be sure a stereotype may be so consistently and authoritatively transmitted in each generation from parent to child that it seems almost like a biological fact. In some respects, we may indeed have become, as Mr. Wallas says,48 biologically parasitic upon our social heritage. But certainly there is not the least scientific evidence which would enable anyone to argue that men are born with the political habits of the country in which they are born. In so far as political habits are alike in a nation, the first places to look for an explanation are the nursery, the school, the church, not in that limbo inhabited by Group Minds and National Souls. Until you have thoroughly failed to see tradition being handed on from parents, teachers, priests, and uncles, it is a solecism of the worst order to ascribe political differences to the germ plasm.
It is possible to generalize tentatively and with a decent humility about comparative differences within the same category of education and experience. Yet even this is a tricky enterprise. For almost no two experiences are exactly alike, not even of two children in the same household. The older son never does have the experience of being the younger. And therefore, until we are able to discount the difference in nurture, we must withhold judgment about differences of nature. As well judge the productivity of two soils by comparing their yield before you know which is in Labrador and which in Iowa, whether they have been cultivated and enriched, exhausted, or allowed to run wild.
39. E. g. cf. Edmond Locard, L'Enquête Criminelle et les Méthodes Scientifiques. A great deal of interesting material has been gathered in late years on the credibility of the witness, which shows, as an able reviewer of Dr. Locard's book says in The Times (London) Literary Supplement (August 18, 1921), that credibility varies as to classes of witnesses and classes of events, and also as to type of perception. Thus, perceptions of touch, odor, and taste have low evidential value. Our hearing is defective and arbitrary when it judges the source and direction of sound, and in listening to the talk of other people "words which are not heard will be supplied by the witness in all good faith. He will have a theory of the purport of the conversation, and will arrange the sounds he heard to fit it." Even visual perceptions are liable to great error, as in identification, recognition, judgment of distance, estimates of numbers, for example, the size of a crowd. In the untrained observer, the sense of time is highly variable. All these original weaknesses are complicated by tricks of memory, and the incessant creative quality of the imagination. Cf. also Sherrington, The Integrative Action of the Nervous System, pp. 318-327. The late Professor Hugo Münsterberg wrote a popular book on this subject called On the Witness Stand.
40. Wm. James, Principles of Psychology, Vol. I, p. 488.
41. John Dewey, How We Think, pg 121.
42. op. cit., p. 133.
43. A. von Gennep, La formation des légendes, pp. 158-159. Cited F. van Langenhove, The Growth of a Legend, pp. 120-122.
44. Bernard Berenson, The Central Italian Painters of the Renaissance, pp. 60, et seq.
45. Cf. also his comment on Dante's Visual Images, and his Early Illustrators in The Study and Criticism of Italian Art (First Series), p. 13. "We cannot help dressing Virgil as a Roman, and giving him a 'classical profile' and 'statuesque carriage,' but Dante's visual image of Virgil was probably no less mediaeval, no more based on a critical reconstruction of antiquity, than his entire conception of the Roman poet. Fourteenth Century illustrators make Virgil look like a mediaeval scholar, dressed in cap and gown, and there is no reason why Dante's visual image of him should have been other than this."
46. The Central Italian Painters, pp. 66-67.
47. Cited by Mr. Edward Hale Bierstadt, New Republic, June 1 1921 p. 21.
48. Graham Wallas, Our Social Heritage, p. 17.
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