THE FEELING-TONE OF SENSATION
BEFORE attempting to prove that the impelling force in art-creation is to be explained by the psychology of feeling, we must first pay some attention to the general theory of emotional states. It would be impossible to assert anything about the æsthetic importance of such activities as have their origin in emotional conditions without first having made out the relation between feeling and movement.
In this purely psychological investigation it is advantageous to postpone all æsthetic considerations. The important thing is to get hold of the mental factors in their simplest possible form. Even the lowest feelings, therefore, the feeling-tones of mere physical sensation or the vaguest emotional states, such as comfort or discomfort, which are overlooked in all works on æsthetic proper, may be of great value in this preliminary discussion.
It is preferable to begin with the feeling-tones of definitely physical origin, because these hedonic elements have been subjected to an experimental investigation which could never be undertaken with regard to the complex emotions and sentiments. As early as 1887 Féré published some important researches on the re-