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Updated: May 15, 2025
All this goes to support another and most serious objection to this theory in the mind of all those who believe in the doctrine of evolution. The Surplus-Energy Theory considers the play-impulse, which is one of the most widespread characters of animal life, as merely an accidental thing or by-product a mere using-up of surplus energies. It is not in any way important to the animals.
There are those again who would liken it rather to the adroit trick of a clever conjurer. No doubt, it gratifies in us chiefly that delight in difficulty conquered, which is a part of the primitive play-impulse potent in us all, but tending to die out as we grow older, as we lessen in energy, and as we feel more deeply the tragi-comedy of existence.
The actually present beauty is worthy of the really, of the actually present play-impulse; but by the ideal of beauty, which is set up by the reason, an ideal of the play-instinct is also presented, which man ought to have before his eyes in all his plays. Therefore, no error will ever be incurred if we seek the ideal of beauty on the same road on which we satisfy our play-impulse.
The actually present beauty is worthy of the really, of the actually, present play-impulse; but by the ideal of beauty, which is set up by the reason, an ideal of the play-instinct is also presented, which man ought to have before his eyes in all his plays. Therefore, no error will ever be incurred if we seek the ideal of beauty on the same road on which we satisfy our play-impulse.
In its center stand the Kantian antithesis of sensibility and reason and the reconciliation of the two sides of human nature brought about by its occupation with the beautiful. Artistic activity or the play-impulse mediates between the lower, sensuous matter-impulse and the higher, rational form-impulse, and unites the, two in harmonious co-operation.
We must not ignore the play-impulse in human nature, which, according to Schiller, is the foundation of all Art. In female boarding-schools, teachers uniformly testify to the aversion of pupils to the prescribed walk. Give them a sled, or a pair of skates, or a row-boat, or put them on horseback, and they will protract the period of exercise till the teacher in turn grumbles.
The quasi-social and gregarious habits of animals probably owe much of their strength to the play-impulse, both through the training of individual animals and through the fixing of these tendencies as instincts in various animal species in the way just mentioned. In another place below I analyze a child's game and draw some inferences from it.
The actually present beauty is worthy of the really, of the actually present play-impulse; but by the ideal of beauty, which is set up by the reason, an ideal of the play-instinct is also presented, which man ought to have before his eyes in all his plays. Therefore, no error will ever be incurred if we seek the ideal of beauty on the same road on which we satisfy our play-impulse.
But it would seem that this had been already taught by Kant himself, and that Schiller has but enlivened the subject by his two illuminating phrases, "aesthetic semblance" and the "play-impulse," to denote the real object of the aesthetic desire and the true nature of that desire; form instead of material existence, and a free attitude instead of serious purpose.
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