where anything that is dreaded is the cause of anything else that is dreaded. IO Generally it all culminates in the fabrication of a system of all evil, and of another which is the system of all good. Then our love of the absolute shows itself. For we do not like qualifying adverbs.1 They clutter up sentences, and interfere with irresistible feeling. We prefer most to more, least to less, we dislike the words rather, perhaps, if, or, but, toward, not quite, almost, temporarily, partly. Yet nearly every opinion about public affairs needs to be deflated by some word of this sort. But in our free moments everything tends to behave absolutely, one hundred percent, everywhere, forever. It is not enough to say that our side is more right than the enemy's, that our victory will help democracy more than his. One must insist that our victory will end war forever, and make the world safe for democracy. And when the war is over, though we have thwarted a greater evil than those which still afflict us, the relativity of the result fades out, the absoluteness of the present evil overcomes our spirit, and we feel that we are helpless because we have not been irresistible. Between omnipotence and impotence the pendulum swings. Real space, real time, real numbers, real connections, real weights are lost. The perspective and the background and the dimensions of action are clipped and frozen in the stereotype. 1 Cf. Freud's discussion of absolutism in dreams, Interpretation of Dreams, Chapter VI, especially pp. 288, et seq. CHAPTER XI THE ENLISTING OF INTEREST I BUT the human mind is not a film which registers once and for all each impression that comes through its shutters and lenses. The human mind is endlessly and persistently creative. The pictures fade or combine, are sharpened here, condensed there, as we make them more completely our own. They do not lie inert upon the surface of the mind, but are reworked by the poetic faculty into a personal expression of ourselves. We distribute the emphasis and participate in the action. In order to do this we tend to personalize quantities, and to dramatize relations. As some sort of allegory, except in acutely sophisticated minds, the affairs of the world are represented. Social Movements, Economic Forces, National Interests, Public Opinion are treated as persons, or persons like the Pope, the President, Lenin, Morgan or the King become ideas and institutions. The deepest of all the stereotypes is the human stereotype which imputes human nature to inanimate or collective things. The bewildering variety of our impressions, even after they have been censored in all kinds of ways, tends to force us to adopt the greater economy of the allegory. So great is the multitude of things. gesture, or in a rythm of speech. Visualization may catch the stimulus and the result. But the intermediate and internal is often as badly caricatured by a visualizer, as is the intention of the composer by an enormous soprano in the sweet maiden's part. Nevertheless, though they have often a peculiar justice, intuitions remain highly private and largely incommunicable. But social intercourse depends on communication, and while a person can often steer his own life with the utmost grace by virtue of his intuitions, he usually has great difficulty in making them real to others. When he talks about them they sound like a sheaf of mist. For while intuition does give a fairer perception of human feeling, the reason with its spatial and tactile prejudice can do little with that perception. Therefore, where action depends on whether a number of people are of one mind, it is probably true that in the first instance no idea is lucid for practical decision until it has visual or tactile value. But it is also true, that no visual idea is significant to us until it has enveloped some stress of our own personality. Until it releases or resists, depresses or enhances, some craving of our own, it remains one of the objects which do not matter. 2 Pictures have always been the surest way of conveying an idea, and next in order, words that call up pictures in memory. But the idea conveyed is not fully our own until we have identified ourselves with |