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Freudian theory indeed took western 20th-century civilization by storm. How so The answer lies in four factors. Of Freud’s powers as a writer and advocate of ideas, and as a possessor of an extraordinary ability to weave together medical knowledge, some genuine insights into the human condition and a powerful imagination, there can be no question. He has the narrative skills of a first-rate novelist, and a knack for devising striking ways to describe the psychological phenomena he studies. His marvelous powers of imagination fed on analogy and metaphor, and annexed the austere terminologies of scientific medicine and psychology to them. This gave them authority. His case studies are highly organized narratives constructed from true-life gossip based on voyeurism—irresistible to human curiosity. The second attraction—that Freud offers each individual a revelation of secrets about himself that he does not himself know—is equally irresistible. The same compound of insecurity and curiosity, anxiety and desire that makes so many resort against their better judgment to fortune-tellers, is at work here; except that here the imprimatur of science makes the proceeding respectable, which is why people will spend far more on their analysts than on their astrologers. The third attraction is the promised theory of human nature. Religious accounts of fallen man, of humanity as midway between beast and angel, of imperishable souls trapped in disgusting matter and therefore sinful from birth, had lost their grip with many, while at the same time Darwinian views offered no account of why evolution had made man as he is. In identifying sexual and aggressive impulses as the fundamental human drives, and in specifying their causes, Freud offered an inclusive philosophical psychology. Humans struggle with conceptual bewilderments about themselves and their complex natures; one can see why the appearance of Freud’s magisterial new insights seemed as welcome as rain in drought. And finally there is the fact that sex lies at. the core of the stow. Freud performed a great service by liberating debate on the matter, but it is questionable whether the importance he assigns it is correct. The hungry always think of food; the fed put eating in its proper place. The accidents of social history are easily mistaken for the essentials of human nature. The surprise is that people do not see how, at most, sex can only be part of a far more complicated story. From Animism to Zoroastrianism, every view known to man retains at least a few devotees. There might always be Freudians, and there will always be admirers of Freud’s great imaginative and literary powers; these two, as the foregoing remarks suggest, are intimately linked. But as to Freud’s claims upon troth, the judgment of time seems to be running against him. One of Freudian theories is that
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Every artist knows in his heart that he is saying something to the public. Not only does he want to say it well, but he wants it to be something which has not been said before. He hopes the public will listen and understand—he wants to teach them, and he wants them to learn from him. What visual artists like painters want to teach is easy to make out but difficult to explain, because painters translate their experiences into shapes and colors, not words. They seem to feel that a certain selection of shapes and colors, out of the countless billions possible, is exceptionally interesting for them and worth showing to us. Without their work we should never have noticed these particular shapes and colors, or have felt the delight which they brought to the artist. Most artists take their shapes and colors from the world of nature and from human bodies in motion and repose; their choices indicate that these aspects of the world are worth looking at, that they contain beautiful sights. Contemporary artists might say that they merely choose subjects that provide an interesting pattern, that there is nothing more in it. Yet even they do not choose entirely without reference to the character of their subjects. If one painter chooses to paint a gangrenous leg and another a lake in moonlight, each of them is directing our attention to a certain aspect of the world. Each painter is telling us something, showing us something, emphasizing something m all of which means that, consciously or unconsciously, he is trying to teach us. An artist hopes that the public will ______ .
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