Illusions by James Sully (urban books to read .txt) 📖

These last drawings are not in true perspective on either of the suppositions adopted, wherefore the choice is easier. But even when an outline form is in perspective, a strenuous effort of imagination may suffice to bring about a conversion of the appearance. Thus, if the reader will look at the drawing of the box-like solid (Fig. 3, p. 79), he will find that, after a trial or two, he succeeds in seeing it as a concave figure representing the coyer and two sides of a box as looked at from within.[49]

Many of my readers, probably, share in my power of variously interpreting the relative position of bands or stripes on fabrics such as wall-papers, according to wish. I find that it is possible to view now this stripe or set of stripes as standing out in relief upon the others as a ground, now these others as advancing out of the first as a background. The difficulty of selecting either interpretation at will becomes greater, of course, in those cases where there is a powerful suggestion of some particular local arrangement, as, for example, the case of patterns much brighter than the ground, and especially of such as represent known objects, as flowers. Yet even here a strong effort of imagination will often suffice to bring about a conversion of the first appearance.

A somewhat similar choice of interpretation offers itself in looking at elaborate decorative patterns. When we strongly imagine any number of details to be elements of one figure, they seem to become so; and a given detail positively appears to alter in character according as it is viewed as an element of a more or less complex figure.

These examples show what force belongs to a vivid preconception, if this happens to fit only very roughly the impression of the moment, that is to say, if the interpretative image is one of the possible suggestions of the impression. The play of imagination takes a wider range in those cases where the impression is very indefinite in character, easily allowing of a considerable variety of imaginative interpretation.

I referred at the beginning of this account of sense-illusions to the readiness with which the mind deceives itself with respect to the nature and causes of the vague sensations which usually form the dim background of our mental life. A person of lively imagination, by trying to view these in a particular way, and by selectively attending to those aspects of the sensation which answer to the caprice of the moment, may give a variety of interpretations to one and the same set of sensations. For example, it is very easy to get confused with respect to those tactual and motor feelings which inform us of the position of our bodily members. And so, when lying in bed, and attending to the sensations connected with the legs, we may easily delude ourselves into supposing that these members are arranged in a most eccentric fashion. Similarly, by giving special heed to the sensations arising in connection with the condition of the skin at any part, we may amuse ourselves with the strangest fancies as to what is going on in these regions.

Again, when any object of visual perception is indistinct or indefinite in form, there is plainly an opening for this capricious play of fancy in transforming the actual. This is illustrated in the well-known pastime of discovering familiar forms, such as those of the human head and animals, in distant rocks and clouds, and of seeing pictures in the fire, and so on. The indistinct and indefinite shapes of the masses of rock, cloud, or glowing coal, offer an excellent field for creative fancy, and a person of lively imagination will discover endless forms in what, to an unimaginative eye, is a formless waste. Johannes Müller relates that, when a child, he used to spend hours in discovering the outlines of forms in the partly blackened and cracked stucco of the house that stood opposite to his own.[50] Here it is plain that, while experience and association are not wholly absent, but place certain wide limits on this process of castle-building, the spontaneous activity of the percipient mind is the great determining force.

So much as to the influence of a perfectly unfettered voluntary attention on the determination of the stage of preperception, and, through this, of the resulting interpretation. Let us now pass to cases in which this direction of preperception follows not the caprice of the moment, but the leading of some fixed predisposition in the interpreter's mind. In these cases attention is no longer free, but fettered, only it is now fettered rather from within than from without; that is to say, the dominating preperception is much more the result of an independent bent of the imagination than of some suggestion forced on the mind by the actual impression of the moment.

Involuntary Mental Preadjustment.

If we glance back at the examples of capricious selection just noticed, we shall see that they are really limited not only by the character of the impression of the time, but also by the mental habits of the spectator. That is to say, we find that his fancy runs in certain definite directions, and takes certain habitual forms. It has already been observed that the percipient mind has very different attitudes with respect to various kinds of impression. Towards some it holds itself at a distance, while towards others it at once bears itself familiarly; the former are such as answer to its previous habit and bent of imagination, the latter such as do not so answer.

This bent of the interpretative imagination assumes, as we have already seen, two forms, that of a comparatively permanent disposition, and that of a temporary state of expectation or mental preparedness. Illusion may arise in connection with either of these forms. Let us illustrate both varieties, beginning with those which are due to a lasting mental disposition.

It is impossible here to specify all the causes of illusion residing in organized tendencies of the mind. The whole past mental life, with its particular shade of experience, its ruling emotions, and its habitual direction of fancy, serves to give a particular colour to new impressions, and so to favour illusion. There is a "personal equation" in perception as in belief—an amount of erroneous deviation from the common average view of external things, which is the outcome of individual temperament and habits of mind. Thus, a naturally timid man will be in general disposed to see ugly and fearful objects where a perfectly unbiased mind perceives nothing of the kind; and the forms which these objects of dread will assume are determined by the character of his past experience, and by the customary direction of his imagination.

In perfectly healthy states of mind this influence of temperament and mental habit on the perception of external objects is, of course, very limited; it shows itself more distinctly, as we shall see, in modifying the estimate of things in relation to the æsthetic and other feelings. This applies to the mythical poetical way of looking at nature—a part of our subject to which we shall have to return later on.

Passing now from the effect of such permanent dispositions, let us look at the more striking results of temporary expectancy of mind.

When touching on the influence of such a temporary mental attitude in the process of correct perception, I remarked that this readiness of mind might assume an indefinite or a definite form. We will examine the effect of each kind in the production of illusion.

Action of Sub-Expectation.

First of all, then, our minds may at the particular moment be disposed to entertain any one of a vaguely circumscribed group of images. Thus, to return to the example already referred to, when in Italy, we are in a state of readiness to frame any of the images that we have learnt to associate with this country. We may not be distinctly anticipating any one kind of object, but are nevertheless in a condition of sub-expectation with reference to a large number of objects. Accordingly, when an impression occurs which answers only very roughly to one of the associated images, there is a tendency to superimpose the image on the impression. In this way illusion arises. Thus, a man, when strolling in a cathedral, will be apt to take any kind of faint hollow sound for the soft tones of an organ.

The disposition to anticipate fact and reality in this way will be all the stronger if, as usually happens, the mental images thus lying ready for use have an emotional colouring. Emotion is the great disturber of all intellectual operations. It effects marvellous things, as we shall presently see, in the region of illusory belief, and its influence is very marked in the seemingly cooler region of external perception. The effect of any emotional excitement appears to be to give a preternatural vividness and persistence to the ideas answering to it, that is to say, the ideas which are its excitants, or which are otherwise associated with it. Owing to this circumstance, when the mind is under the temporary sway of any feeling, as, for example, fear, there will be a special readiness to interpret objects by help of images congruent with the emotion. Thus, a man under the control of fear will be ready to see any kind of fear-inspiring object whenever there is any resemblance to such in the things actually present to his vision. The state of awe which the surrounding circumstances of a spiritualist séance inspires produces a general readiness of mind to perceive what is strange, mysterious, and apparently miraculous.

It is worth noting, perhaps, that those delightful half-illusions which imitative art seeks to produce are greatly favoured by such a temporary attitude of the interpreting imagination. In the theatre, for example, we are prepared for realizing the semblance of life that is to be unfolded before us. We come knowing that what is to be performed aims at representing a real action or actual series of events. We not improbably work ourselves into a slightly excited state in anticipation of such a representation. More than this, as the play progresses, the realization of what has gone before produces a strong disposition to believe in the reality of what is to follow. And this effect is proportionate to the degree of coherence and continuity in the action. In this way, there is a cumulative effect on the mind. If the action is good, the illusion, as every play-goer knows, is most complete towards the end.

Were it not for all this mental preparation, the illusory character of the performance would be too patent to view, and our enjoyment would suffer. A man is often aware of this when coming