interesting experiment was
made with a crowd of presumably trained observers. [Footnote: A. von
Gennep, La formation des légendes, pp. 158–159. Cited F. van Langenhove, The Growth of a Legend, pp. 120–122.]
"Not far from the hall in which the Congress was sitting there was a public fete with a masked ball. Suddenly the door of the hall was thrown open and a clown rushed in madly pursued by a negro, revolver in hand. They stopped in the middle of the room fighting; the clown fell, the negro leapt upon him, fired, and then both rushed out of the hall. The whole incident hardly lasted twenty seconds.
"The President asked those present to write immediately a report since there was sure to be a judicial inquiry. Forty reports were sent in. Only one had less than 20% of mistakes in regard to the principal facts; fourteen had 20% to 40% of mistakes; twelve from 40% to 50%; thirteen more than 50%. Moreover in twenty-four accounts 10% of the details were pure inventions and this proportion was exceeded in ten accounts and diminished in six. Briefly a quarter of the accounts were false.
"It goes without saying that the whole scene had been arranged and even photographed in advance. The ten false reports may then be relegated to the category of tales and legends; twenty-four accounts are half legendary, and six have a value approximating to exact evidence."
Thus out of forty trained observers writing a responsible account of a scene that had just happened before their eyes, more than a majority saw a scene that had not taken place. What then did they see? One would suppose it was easier to tell what had occurred, than to invent something which had not occurred. They saw their stereotype of such a brawl. All of them had in the course of their lives acquired a series of images of brawls, and these images flickered before their eyes. In one man these images displaced less than 20% of the actual scene, in thirteen men more than half. In thirty-four out of the forty observers the stereotypes preempted at least one-tenth of the scene.
A distinguished art critic has said [Footnote: Bernard Berenson, The Central Italian Painters of the Renaissance, pp. 60, et seq.] that "what with the almost numberless shapes assumed by an object. … What with our insensitiveness and inattention, things scarcely would have for us features and outlines so determined and clear that we could recall them at will, but for the stereotyped shapes art has lent them." The truth is even broader than that, for the stereotyped shapes lent to the world come not merely from art, in the sense of painting and sculpture and literature, but from our moral codes and our social philosophies and our political agitations as well. Substitute in the following passage of Mr. Berenson's the words 'politics,' 'business,' and 'society,' for the word 'art' and the sentences will be no less true: " … unless years devoted to the study of all schools of art have taught us also to see with our own eyes, we soon fall into the habit of moulding whatever we look at into the forms borrowed from the one art with which we are acquainted. There is our standard of artistic reality. Let anyone give us shapes and colors which we cannot instantly match in our paltry stock of hackneyed forms and tints, and we shake our heads at his failure to reproduce things as we know they certainly are, or we accuse him of insincerity."
Mr. Berenson speaks of our displeasure when a painter "does not visualize objects exactly as we do," and of the difficulty of appreciating the art of the Middle Ages because since then "our manner of visualizing forms has changed in a thousand ways." [Footnote: 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."] He goes on to show how in regard to the human figure we have been taught to see what we do see. "Created by Donatello and Masaccio, and sanctioned by the Humanists, the new canon of the human figure, the new cast of features … presented to the ruling classes of that time the type of human being most likely to win the day in the combat of human forces … Who had the power to break through this new standard of vision and, out of the chaos of things, to select shapes more definitely expressive of reality than those fixed by men of genius? No one had such power. People had perforce to see things in that way and in no other, and to see only the shapes depicted, to love only the ideals presented. … " [Footnote: The Central Italian Painters, pp. 66–67.]
2
If we cannot fully understand the acts of other people, until we know what they think they know, then in order to do justice we have to appraise not only the information which has been at their disposal, but the minds through which they have filtered it. For the accepted types, the current patterns, the standard versions, intercept information on its way to consciousness. Americanization, for example, is superficially at least the substitution of American for European stereotypes. Thus the peasant who might see his landlord as if he were the lord of the manor, his employer as he saw the local magnate, is taught by Americanization to see the landlord and employer according to American standards. This constitutes a change of mind, which is, in effect, when the inoculation succeeds, a change of vision. His eye sees differently. One kindly gentlewoman has confessed that the stereotypes are of such overweening importance, that when hers are not indulged, she at least is unable to accept the brotherhood of man and the fatherhood of God: "we are strangely affected by the clothes we wear. Garments create a mental and social atmosphere. What can be hoped for the Americanism of a man who insists on employing a London tailor? One's very food affects his Americanism. What kind of American consciousness can grow in the atmosphere of sauerkraut and Limburger cheese? Or what can you expect of the Americanism of the man whose breath always reeks of garlic?" [Footnote: Cited by Mr. Edward Hale Bierstadt, New Republic, June 1 1921 p. 21.]
This lady might well have been the patron of a pageant which a friend of mine once attended. It was called the Melting Pot, and it was given on the Fourth of July in an automobile town where many foreign-born workers are employed. In the center of the baseball park at second base stood a huge wooden and canvas pot. There were flights of steps up to the rim on two sides. After the audience had settled itself, and the band had played, a procession came through an opening at one side of the field. It was made up of men of all the foreign nationalities employed in the factories. They wore their native costumes, they were singing their national songs; they danced their folk dances, and carried the banners of all Europe. The master of ceremonies was the principal of the grade school dressed as Uncle Sam. He led them to the pot. He directed them up the steps to the rim, and inside. He called them out again on the other side. They came, dressed in derby hats, coats, pants, vest, stiff collar and polka-dot tie, undoubtedly, said my friend, each with an Eversharp pencil in his pocket, and all singing the Star-Spangled Banner.
To the promoters of this pageant, and probably to most of the actors, it seemed as if they had managed to express the most intimate difficulty to friendly association between the older peoples of America and the newer. The contradiction of their stereotypes interfered with the full recognition of their common humanity. The people who change their names know this. They mean to change themselves, and the attitude of strangers toward them.
There is, of course, some connection between the scene outside and the mind through which we watch it, just as there are some long-haired men and short-haired women in radical gatherings. But to the hurried observer a slight connection is enough. If there are two bobbed heads and four beards in the audience, it will be a bobbed and bearded audience to the reporter who knows beforehand that such gatherings are composed of people with these tastes in the management of their hair. There is a connection between our vision and the facts, but it is often a strange connection. A man has rarely looked at a landscape, let us say, except to examine its possibilities for division into building lots, but he has seen a number of landscapes hanging in the parlor. And from them he has learned to think of a landscape as a rosy sunset, or as a country road with a church steeple and a silver moon. One day he goes to the country, and for hours he does not see a single landscape. Then the sun goes down looking rosy. At once he recognizes a landscape and exclaims that it is beautiful. But two days later, when he tries