Читать книгу Public Opinion: Political Essay - Walter Lippmann - Страница 37

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.