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diff --git a/42055-h/42055-h.htm b/42055-h/42055-h.htm index 1f69150..2e0e3eb 100644 --- a/42055-h/42055-h.htm +++ b/42055-h/42055-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml"> <head> -<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" /> +<meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /> <title>The Project Gutenberg eBook of Your Mind and How to Use It, by William Walker Atkinson</title> <style type="text/css"> @@ -233,27 +233,10 @@ h4.pg { line-height: 1; </style> </head> <body> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 42055 ***</div> <h1 class="pg">The Project Gutenberg eBook, Your Mind and How to Use It, by William Walker Atkinson</h1> -<p>This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at <a -href="http://www.gutenberg.org">www.gutenberg.org</a></p> -<p>Title: Your Mind and How to Use It</p> -<p> A Manual of Practical Psychology</p> -<p>Author: William Walker Atkinson</p> -<p>Release Date: February 9, 2013 [eBook #42055]</p> -<p>Language: English</p> -<p>Character set encoding: ISO-8859-1</p> -<p>***START OF THE PROJECT GUTENBERG EBOOK YOUR MIND AND HOW TO USE IT***</p> <p> </p> -<h4 class="pg">E-text prepared by sp1nd, C.M.,<br /> - and the Online Distributed Proofreading Team<br /> - (<a href="http://www.pgdp.net">http://www.pgdp.net</a>)<br /> - from page images generously made available by<br /> - Internet Archive<br /> - (<a href="http://archive.org">http://archive.org</a>)</h4> <p> </p> <table border="0" style="background-color: #ccccff;margin: 0 auto;" cellpadding="10"> <tr> @@ -444,7 +427,7 @@ Copyrighted in the United States and England. <tr> <td class="tdr">XVI.</td> -<td class="tdl"><a href="#CHAPTER_XVI"><span class="smcap">The Ęsthetic Emotions</span></a></td> +<td class="tdl"><a href="#CHAPTER_XVI"><span class="smcap">The Ćsthetic Emotions</span></a></td> <td class="tdr">117</td> </tr> @@ -1932,7 +1915,7 @@ were introduced to them one after the other, thereafter you will naturally remember Mr. W. when you think of Mrs. W., and vice versa. You will naturally remember Napoleon when you think of Wellington, or Benedict -Arnold when you think of Major André, for the +Arnold when you think of Major AndrĆ©, for the same reason. You will also naturally remember <i>b</i> and <i>c</i> when you think of <i>a</i>. Likewise, you will think of abstract time when you think of abstract space, of thunder when @@ -2627,7 +2610,7 @@ 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 Franēois Delsarte, +and observation. The work of FranƧois 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 @@ -2804,7 +2787,7 @@ further complicate the task.</p> <p>For the purposes of our consideration, let us divide the emotions into five general classes, as follows: (1) Instinctive emotions, (2) social emotions, (3) religious -emotions, (4) ęsthetic emotions, (5) intellectual emotions. +emotions, (4) Ʀsthetic emotions, (5) intellectual emotions. We shall now consider each of the above five classes in turn.</p> @@ -3032,7 +3015,7 @@ parental affection or the return thereof. Human love between the sexes, in its higher and lower degrees, is a natural evolution from passional emotion of a low order, due to the growth of social, ethical, moral, and -ęsthetic emotion arising from the necessities of the +Ʀsthetic emotion arising from the necessities of the increasing complexity and development of human life.</p> <p>The simpler forms of passional emotion are almost @@ -3136,7 +3119,7 @@ and inhibit his unsociable ones. The evolution of man's nature has caused him unconsciously to modify his elemental, instinctive, passional emotions, and sub<span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span>ordinate them to the dictates of social, ethical, moral, -and ęsthetic feelings and ideals, and to intellectual considerations. +and Ʀsthetic feelings and ideals, and to intellectual considerations. Even the original elemental instincts of the lower animals have been modified by reason of the social requirements of the pack, herd, or drove, until @@ -3283,7 +3266,7 @@ were thought right a century ago are condemned now; likewise, things condemned a century ago are thought right now. What is commended in Turkey is condemned in England, and vice versa. Moral tastes and -ideals, like ęsthetic ones, vary with time and country. +ideals, like Ʀsthetic ones, vary with time and country. There is no absolute code which has been always true, in all places. There is an evolution in the ideals of morals and ethics as in everything else, and "conscience" @@ -3552,7 +3535,7 @@ of God, but there is but one goal and destination."<span class="pagenum"><a name The Aesthetic Emotions.</h2> -<p class="noin cap">BY "the ęsthetic emotions" is meant those emotional +<p class="noin cap">BY "the Ʀsthetic emotions" is meant those emotional feelings which are concerned with the perception of beauty or taste, and by reason of which we "like" or "dislike" certain perceptions of @@ -3582,7 +3565,7 @@ conditions of civilization that it is utterly impossible to set up a standard of taste applicable to all men and to all stages in the evolution of society."</p> -<p>The ęsthetic sense, feeling, and emotion are products +<p>The Ʀsthetic sense, feeling, and emotion are products of the later stages of the evolution of the mind of man. Their roots, however, may be seen in the crude attempts at decoration and adornment in the savage, and still @@ -3592,15 +3575,15 @@ must exist in the lower animals, which are influenced thereby in the selection of their mates, the bright plumage of the birds, and the coloring of the insects and higher animals evidencing the existence of at least a -primitive ęsthetic sense. Herbert Spencer says that -one characteristic of the ęsthetic feelings is that they +primitive Ʀsthetic sense. Herbert Spencer says that +one characteristic of the Ʀsthetic feelings is that they are separated from the functions vitally requisite and necessary to sustain life, and it is not until the latter are reasonably well satisfied that the former begin to manifest in force.</p> <p>The authorities hold that the basic element concerned -in the manifestation of the ęsthetic emotional feeling +in the manifestation of the Ʀsthetic emotional feeling is the <i>sensory</i> element, which consists of the pleasure<span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span> arising from the perception of objects of vision or hearing which are deemed beautiful. There is a certain @@ -3637,26 +3620,26 @@ while others shudder at these and find delight in the classic productions of the great composers.</p> <p>There is also the <i>intellectual</i> element to be reckoned -with in the ęsthetic emotions. The intellect must discover +with in the Ʀsthetic emotions. The intellect must discover the beauty in certain objects before the emotion is aroused by the perception. Halleck says: "Every time the mind discerns unity amid variety, order, rhythm, -proportion, or symmetry, an ęsthetic emotion arises. +proportion, or symmetry, an Ʀsthetic emotion arises. * * * The traveler with a trained intellect will see far more beauty than an ignorant one. In looking at a -cathedral, a large part of the ęsthetic enjoyment comes +cathedral, a large part of the Ʀsthetic enjoyment comes from tracing out the symmetry, from comparing part with part. Not until this process is complete will the full beauty of the structure as a whole be perceived. -If the traveler knows something of medięval architecture +If the traveler knows something of mediƦval architecture before starting on his European trip, he will see -far more beauty. The opposite of the ęsthetic, which +far more beauty. The opposite of the Ʀsthetic, which we call the ugly, is the unsymmetrical, the disorderly—that in which we can discover no rhythm, plan, or beauty."</p> <p>The element of <i>associative suggestion</i> also enters into -the manifestation of ęsthetic emotional feeling. The<span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span> +the manifestation of Ʀsthetic emotional feeling. The<span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span> mind accepts the suggestion of the beauty of certain styles of art, or the excellence of certain classes of music. There are fashions in art and music, as in clothes, and @@ -3675,11 +3658,11 @@ of approval upon a certain picture or musical composition and lo! the multitude calls it beautiful. It must not be supposed, however, that the crowd always counterfeits this sense of beauty and excellence which has -been suggested to it. On the contrary, genuine ęsthetic +been suggested to it. On the contrary, genuine Ʀsthetic feeling often results from the discovery so made.</p> <p>There is style and fashion in the use of words, resulting -from fashion, which gives rise to ęsthetic feelings +from fashion, which gives rise to Ʀsthetic feelings regarding them. These feelings do not arise from the consideration of the nature of the object expressed by the word; of two words designating the same thing, one @@ -3689,7 +3672,7 @@ is emitted from the pores of the skin, we may use either of the respective terms "sweat" or "perspiration." Both mean the same thing, and have an equally respectable origin. But to many persons the word "sweat" causes -unpleasant ęsthetic emotion, while the word "perspiration" +unpleasant Ʀsthetic emotion, while the word "perspiration" is accepted without remonstrance. Some persons abhor the term "victuals," while "viands" or "food" are accepted without protest. There is often an unpleasant, @@ -3699,7 +3682,7 @@ are received, and which association is absent from the more "polite" terms employed to indicate the same thing. But in other cases there is nothing but the simple suggestion of fashion and style to account for -the ęsthetic acceptance or rejection.</p> +the Ʀsthetic acceptance or rejection.</p> <p>It is possible that some psychologist of the future will establish the truth of the theory now tentatively advanced @@ -3718,7 +3701,7 @@ emotions.</p> <p>Regarding the fact that there is no universal standard of taste or beauty, Halleck says: "It has been -said that ęsthetics cannot be treated in a scientific way +said that Ʀsthetics cannot be treated in a scientific way because there is no standard of taste. '<i>De gustibus non est disputandum</i>' ('there is no disputing about tastes') is an old proverb. Of two equally intelligent persons, @@ -3730,14 +3713,14 @@ and associations differ, we may scientifically conclude that their tastes must differ. The greater the uniformity in the factors the less does the product vary. On the other hand, within certain limits, the standard of -ęsthetics is relatively uniform. <i>It is fixed by the majority +Ʀsthetics is relatively uniform. <i>It is fixed by the majority of intelligent people of any age and country.</i> To estimate the standard by which to judge of the correctness of language or of the literary taste of any era, we examine the conversations of the best speakers, the works of the standard writers."</p> -<p>The ęsthetic emotions may be developed and cultivated +<p>The Ʀsthetic emotions may be developed and cultivated by exercise and practice, and particularly by asso<span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span>ciation and familiarity with beautiful things, and with those who have "good taste." Appreciation of beauty @@ -3747,14 +3730,14 @@ understand, and appreciate beauty, he should go where beauty is, and where its votaries are gathered. The study of standard works of art, or objects of nature, or the best productions of the composers of music, will do -much to develop and unfold one's higher ęsthetic feelings +much to develop and unfold one's higher Ʀsthetic feelings and understanding.</p> <p>It is claimed by some of the best authorities that to -develop the finer and higher ęsthetic feelings and understanding +develop the finer and higher Ʀsthetic feelings and understanding we must learn to find beauty and excellence in things removed from ourselves or our selfish interests. -The narrow, selfish emotions kill the ęsthetic +The narrow, selfish emotions kill the Ʀsthetic feelings—the two cannot exist together. The person whose thoughts are centered on himself or herself very rarely finds beauty or excellence in works of art or @@ -3901,7 +3884,7 @@ emotions during its course. The welfare of the loved one becomes the chief concern of life, often stronger even than self-preservation. The joy of the loved one becomes the greatest joy, far surpassing the more selfish -forms of happiness. Then come the ęsthetic feelings, +forms of happiness. Then come the Ʀsthetic feelings, which find satisfaction in the two "liking the same things," sympathy and community of feeling being the<span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span> connecting link. The several ideals of the two combining, @@ -4161,7 +4144,7 @@ of the race. Moreover, wisdom shows that the highest happiness comes not from the indulgence of the physical feelings alone, or to excess, but rather from the cultivation, development, and manifestation of the -higher feelings—the social, ęsthetic, and intellectual +higher feelings—the social, Ʀsthetic, and intellectual emotions. The higher pleasures of life, literature, art, music, science, invention, constructive imagination, etc., yield a satisfaction and happiness keener and more @@ -6173,7 +6156,7 @@ and direction of the attention. The will determines the kind of interest that shall prevail at the moment, and the kind of interest largely determines the character of the man, his tastes, his feelings, his thoughts, his acts. -Gordy says: "Coöperating with a pre-existing influence, +Gordy says: "Coƶperating with a pre-existing influence, the will can make a weaker one prevail over a stronger. * * * It determines which of pre-existing influences shall have control over the mind."<span class="pagenum"><a name="Page_214" id="Page_214">[Pg 214]</a></span></p> @@ -6534,360 +6517,6 @@ author's usage is preserved as printed in the original publication.</p></div> <p> </p> <p> </p> -<hr class="full" /> -<p>***END OF THE PROJECT GUTENBERG EBOOK YOUR MIND AND HOW TO USE IT***</p> -<p>******* This file should be named 42055-h.txt or 42055-h.zip *******</p> -<p>This and all associated files of various formats will be found in:<br /> -<a href="http://www.gutenberg.org/dirs/4/2/0/5/42055">http://www.gutenberg.org/4/2/0/5/42055</a></p> -<p> -Updated editions will replace the previous one--the old editions -will be renamed.</p> - -<p> -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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