Chapter VIII: Part TWO: The Place of Impulse in Conduct (3)

This benevolent view of nature falls in with a Puritanic devotion to work for its own sake and creates distrust of amusement, play and recreation. They are felt to be unnecessary, and worse, dangerous diversions from the path of useful action which is also the path of duty. Social conditions certainly impart to occupations as they are now carried on an undue element of fatigue, strain and drudgery. Consequently useful occupations which are so ordered socially as to engage thought, feed imagination and equalize the impact of stress would surely introduce a tranquillity and recreation which are now lacking. But there is good reason to think that even in the best conditions there is enough maladjustment between the necessities of the environment and the activities "natural" to man, so that constraint and fatigue would always accompany activity, and special forms of action be needed--forms that are significantly called re-creation.

Hence the immense moral importance of play and of fine, or make-believe, art--of activity, that is, which is make-believe from the standpoint of the useful arts enforced by the demands of the environment. When moralists have not regarded play and art with a censorious eye, they often have thought themselves carrying matters to the pitch of generosity by conceding that they may be morally indifferent or innocent. But in truth they are moral necessities. They are required to take care of the margin that exists between the total stock of impulses that demand outlet and the amount expended in regular action. They keep the balance which work cannot indefinitely maintain. They are required to introduce variety, flexibility and sensitiveness into disposition. Yet upon the whole the humanizing capabilities of sport in its varied forms, drama, fiction, music, poetry, newspapers have been neglected. They have been left in a kind of a moral no-man's territory. They have accomplished part of their function but they have not done what they are capable of doing. In many cases they have operated merely as reactions like those artificial and isolated stimulations already mentioned.

The suggestion that play and art have an indispensable moral function which should receive an attention now denied, calls out an immediate and vehement protest. We omit reference to that which proceeds from professional moralists to whom art, fun and sport are habitually under suspicion. For those interested in art, professional estheticians, will protest even more strenuously. They at once imagine that some kind of organized supervision if not censorship of play, drama and fiction is contemplated which will convert them into means of moral edification. If they do not think of Comstockian interference in the alleged interest of public morals, they at least think that what is intended is the elimination by persons of a Puritanic, unartistic temperament of everything not found sufficiently earnest and elevating, a fostering of art not for its own sake but as a means of doing good by something to somebody. There is a natural fear of injecting into art a spirit of earnest uplift, of surrendering art to the reformers.

But something quite other than this is meant. Relief from continuous moral activity--in the conventional sense of moral--is itself a moral necessity. The service of art and play is to engage and release impulses in ways quite different from those in which they are occupied and employed in ordinary activities. Their function is to forestall and remedy the usual exaggerations and deficits of activity, even of "moral" activity and to prevent a stereotyping of attention. To say that society is altogether too careless about the moral worth of art is not to say that carelessness about useful occupations is not a necessity for art. On the contrary, whatever deprives play and art of their own careless rapture thereby deprives them of their moral function. Art then becomes poorer as art as a matter of course, but it also becomes in the same measure less effectual in its pertinent moral office. It tries to do what other things can do better, and it fails to do what nothing but itself can do for human nature, softening rigidities, relaxing strains, allaying bitterness, dispelling moroseness, and breaking down the narrowness consequent upon specialized tasks.

Even if the matter be put in this negative way, the moral value of art cannot be depreciated. But there is a more positive function. Play and art add fresh and deeper meanings to the usual activities of life. In contrast with a Philistine relegation of the arts to a trivial by-play from serious concerns, it is truer to say that most of the significance now found in serious occupations originated in activities not immediately useful, and gradually found its way from them into objectively serviceable employments. For their spontaneity and liberation from external necessities permits to them an enhancement and vitality of meaning not possible in preoccupation with immediate needs. Later this meaning is transferred to useful activities and becomes a part of their ordinary working. In saying then that art and play have a moral office not adequately taken advantage of it is asserted that they are responsible to life, to the enriching and freeing of its meanings, not that they are responsible to a moral code, commandment or special task.

To a coarse view--and professed moral refinement is often given to taking coarse views--there is something vulgar not only in recourse to abnormal artificial exigents and stimulations but also in interest in useless games and arts. Negatively the two things have features which are alike. They both spring from failure of regular occupations to engage the full scope of impulses and instincts in an elastically balanced way. They both evince a surplusage of imagination over fact; a demand in imaginative activity for an outlet which is denied in overt activity. They both aim at reducing the domination of the prosaic; both are protests against the lowering of meanings attendant upon ordinary vocations. As a consequence no rule can be laid down for discriminating by direct inspection between unwholesome stimulations and invaluable excursions into appreciative enhancements of life. Their difference lies in the way they work, the careers to which they commit us.

Art releases energy and focuses and tranquilizes it. It releases energy in constructive forms. Castles in the air like art have their source in a turning of impulse away from useful production. Both are due to the failure in some part of man's constitution to secure fulfilment in ordinary ways. But in one case the conversion of direct energy into imagination is the starting point of an activity which _shapes_ material; fancy is fed upon a stuff of life which assumes under its influence a rejuvenated, composed and enhanced form. In the other case, fancy remains an end in itself. It becomes an indulging in fantasies which bring about withdrawal from all realities, while wishes impotent in action build a world which yields temporary excitement. Any imagination is a sign that impulse is impeded and is groping for utterance. Sometimes the outcome is a refreshed useful habit; sometimes it is an articulation in creative art; and sometimes it is a futile romancing which for some natures does what self-pity does for others. The amount of potential energy of reconstruction that is dissipated in unexpressed fantasy supplies us with a fair measure of the extent to which the current organization of occupation balks and twists impulse, and, by the same sign, with a measure of the function of art which is not yet utilized.

The development of mental pathologies to the point where they need clinical attention has of late enforced a widespread consciousness of some of the evils of suppression of impulse. The studies of psychiatrists have made clear that impulses driven into pockets distil poison and produce festering sores. An organization of impulse into a working habit forms an interest. A surreptitious furtive organization which does not articulate in avowed expression forms a "complex." Current clinical psychology has undoubtedly overworked the influence of sexual impulse in this connection, refusing at the hands of some writers to recognize the operation of any other modes of disturbance. There are explanations of this onesidedness. The intensity of the sexual instinct and its organic ramifications produce many of the cases that are so noticeable as to demand the attention of physicians. And social taboos and the tradition of secrecy have put this impulse under greater strain than has been imposed upon others. If a society existed in which the existence of impulse toward food were socially disavowed until it was compelled to live an illicit, covert life, alienists would have plenty of cases of mental and moral disturbance to relate in connection with hunger.

The significant thing is that the pathology arising from the sex instinct affords a striking case of a universal principle. Every impulse is, as far as it goes, force, urgency. It must either be used in some function, direct or sublimated, or be driven into a concealed, hidden activity. It has long been asserted on empirical grounds that expression and enslavement result in corruption and perversion. We have at last discovered the reason for this fact. The wholesome and saving force of intellectual freedom, open confrontation, publicity, now has the stamp of scientific sanction. The evil of checking impulses is not that they are checked. Without inhibition there is no instigation of imagination, no redirection into more discriminated and comprehensive activities. The evil resides in a refusal of direct attention which forces the impulse into disguise and concealment, until it enacts its own unavowed uneasy private life subject to no inspection and no control.

A rebellious disposition is also a form of romanticism. At least rebels set out as romantics, or, in popular parlance, as idealists. There is no bitterness like that of conscious impotency, the sense of suffocatingly complete suppression. The world is hopeless to one without hope. The rage of total despair is a vain effort at blind destructiveness. Partial suppression induces in some natures a picture of complete freedom, while it arouses a destructive protest against existing institutions as enemies that stand in the way of freedom. Rebellion has at least one advantage over recourse to artificial stimulation and to subconscious nursings of festering sore spots. It engages in action and thereby comes in contact with realities. It contains the possibility of learning something. Yet learning by this method is immensely expensive. The costs are incalculable. As Napoleon said, every revolution moves in a vicious circle. It begins and ends in excess.

To view institutions as enemies of freedom, and all conventions as slaveries, is to deny the only means by which positive freedom in action can be secured. A general liberation of impulses may set things going when they have been stagnant, but if the released forces are on their way to anything they do not know the way nor where they are going. Indeed, they are bound to be mutually contradictory and hence destructive--destructive not only of the habits they wish to destroy but of themselves, of their own efficacy. Convention and custom are necessary to carrying forward impulse to any happy conclusion. A romantic return to nature and a freedom sought within the individual without regard to the existing environment finds its terminus in chaos. Every belief to the contrary combines pessimism regarding the actual with an even more optimistic faith in some natural harmony or other--a faith which is a survival of some of the traditional metaphysics and theologies which professedly are to be swept away. Not convention but stupid and rigid convention is the foe. And, as we have noted, a convention can be reorganized and made mobile only by using some other custom for giving leverage to an impulse.

Yet it is too easy to utter commonplaces about the superiority of constructive action to destructive. At all events the professed conservative and classicist of tradition seeks too cheap a victory over the rebel. For the rebel is not self-generated. In the beginning no one is a revolutionist simply for the fun of it, however it may be after the furor of destructive power gets under way. The rebel is the product of extreme fixation and unintelligent immobilities. Life is perpetuated only by renewal. If conditions do not permit renewal to take place continuously it will take place explosively. The cost of revolutions must be charged up to those who have taken for their aim arrest of custom instead of its readjustment. The only ones who have the right to criticize "radicals"--adopting for the moment that perversion of language which identifies the radical with the destructive rebel--are those who put as much effort into reconstruction as the rebels are putting into destruction. The primary accusation against the revolutionary must be directed against those who having power refuse to use it for ameliorations. They are the ones who accumulate the wrath that sweeps away customs and institutions in an undiscriminating avalanche. Too often the man who should be criticizing institutions expends his energy in criticizing those who would re-form them. What he really objects to is any disturbance of his own vested securities, comforts and privileged powers.

VII

We return to the original proposition. The position of impulse in conduct is intermediary. Morality is an endeavor to find for the manifestation of impulse in special situations an office of refreshment and renewal. The endeavor is not easy of accomplishment. It is easier to surrender the main and public channels of action and belief to the sluggishness of custom, and idealize tradition by emotional attachment to its ease, comforts and privileges instead of idealizing it in practice by making it more equably balanced with present needs. Again, impulses not used for the work of rejuvenation and vital recovery are sidetracked to find their own lawless barbarities or their own sentimental refinements. Or they are perverted to pathological careers--some of which have been mentioned.

In the course of time custom becomes intolerable because of what it suppresses and some accident of war or inner catastrophe releases impulses for unrestrained expression. At such times we have philosophies which identify progress with motion, blind spontaneity with freedom, and which under the name of the sacredness of individuality or a return to the norms of nature make impulse a law unto itself. The oscillation between impulse arrested and frozen in rigid custom and impulse isolated and undirected is seen most conspicuously when epochs of conservatism and revolutionary ardor alternate. But the same phenomenon is repeated on a smaller scale in individuals. And in society the two tendencies and philosophies exist simultaneously; they waste in controversial strife the energy that is needed for specific criticism and specific reconstruction.

The release of some portion of the stock of impulses is an opportunity, not an end. In its origin it is the product of chance; but it affords imagination and invention _their_ chance. The moral correlate of liberated impulse is not immediate activity, but reflection upon the way in which to use impulse to renew disposition and reorganize habit. Escape from the clutch of custom gives an opportunity to do old things in new ways, and thus to construct new ends and means. Breach in the crust of the cake of custom releases impulses; but it is the work of intelligence to find the ways of using them. There is an alternative between anchoring a boat in the harbor till it becomes a rotting hulk and letting it loose to be the sport of every contrary gust. To discover and define this alternative is the business of mind, of observant, remembering, contriving disposition.

Habit as a vital art depends upon the animation of habit by impulse; only this inspiriting stands between habit and stagnation. But art, little as well as great, anonymous as well as that distinguished by titles of dignity, cannot be improvised. It is impossible without spontaneity, but it is not spontaneity. Impulse is needed to arouse thought, incite reflection and enliven belief. But only thought notes obstructions, invents tools, conceives aims, directs technique, and thus converts impulse into an art which lives in objects. Thought is born as the twin of impulse in every moment of impeded habit. But unless it is nurtured, it speedily dies, and habit and instinct continue their civil warfare. There is instinctive wisdom in the tendency of the young to ignore the limitations of the environment. Only thus can they discover their own power and learn the differences in different kinds of environing limitations. But this discovery when once made marks the birth of intelligence; and with its birth comes the responsibility of the mature to observe, to recall, to forecast. Every moral life has its radicalism; but this radical factor does not find its full expression in direct action but in the courage of intelligence to go deeper than either tradition or immediate impulse goes. To the study of intelligence in action we now turn our attention.