Public Opinion/Chapter 6

by Walter Lippmann

CHAPTER VI

STEREOTYPES

1

Each of us lives and works on a small part of the earth's surface, moves in a small circle, and of these acquaintances knows only a few intimately. Of any public event that has wide effects we see at best only a phase and an aspect. This is as true of the eminent insiders who draft treaties, make laws, and issue orders, as it is of those who have treaties framed for them, laws promulgated to them, orders given at them. Inevitably our opinions cover a bigger space, a longer reach of time, a greater number of things, than we can directly observe. They have, therefore, to be pieced together out of what others have reported and what we can imagine.

Yet even the eyewitness does not bring back a naive picture of the scene.^[1] For experience seems to show that he himself brings something to the scene which later he takes away from it, that oftener than not what he imagines to be the account of an event is really a transfiguration of it. Few facts in consciousness seem to be merely given. Most facts in consciousness seem to be partly made. A report is the joint product of the knower and known, in which the role of the observer is always selective and usually creative. The facts we see depend on where we are placed, and the habits of our eyes.

An unfamiliar scene is like the baby's world, "one great, blooming, buzzing confusion."^[2] This is the way, says Mr. John Dewey,^[3] that any new thing strikes an adult, so far as the thing is really new and strange. "Foreign languages that we do not understand always seem jibberings, babblings, in which it is impossible to fix a definite, clear-cut, individualized group of sounds. The countryman in the crowded street, the landlubber at sea, the ignoramus in sport at a contest between experts in a complicated game, are further instances. Put an inexperienced man in a factory, and at first the work seems to him a meaningless medley. All strangers of another race proverbially look alike to the visiting stranger. Only gross differences of size or color are perceived by an outsider in a flock of sheep, each of which is perfectly individualized to the shepherd. A diffusive blur and an indiscriminately shifting suction characterize what we do not understand. The problem of the acquisition of meaning by things, or (stated in another way) of forming habits of simple apprehension, is thus the problem of introducing (1) definiteness and distinction and (2) consistency or stability of meaning into what is otherwise vague and wavering."

But the kind of definiteness and consistency introduced depends upon who introduces them. In a later passage^[4] Dewey gives an example of how differently an experienced layman and a chemist might define the word metal. "Smoothness, hardness, glossiness, and brilliancy, heavy weight for its size . . . the serviceable properties of capacity for being hammered and pulled without breaking, of being softened by heat and hardened by cold, of retaining the shape and form given, of resistance to pressure and decay, would probably be included" in the layman's definition. But the chemist would likely as not ignore these esthetic and utilitarian qualities, and define a metal as "any chemical element that enters into combination with oxygen so as to form a base."

For the most part we do not first see, and then define, we define first and then see. In the great blooming, buzzing confusion of the outer world we pick out what our culture has already defined for us, and we tend to perceive that which we have picked out in the form stereotyped for us by our culture. Of the great men who assembled at Paris to settle the affairs of mankind, how many were there who were able to see much of the Europe about them, rather than their commitments about Europe? Could anyone have penetrated the mind of M. Clemenceau, would he have found there images of the Europe of 1919, or a great sediment of stereotyped ideas accumulated and hardened in a long and pugnacious existence? Did he see the Germans of 1919, or the German type as he had learned to see it since 1871? He saw the type, and among the reports that came to him from Germany, he took to heart those reports, and, it seems, those only, which fitted the type that was in his mind. If a junker blustered, that was an authentic German; if a labor leader confessed the guilt of the empire, he was not an authentic German.

At a Congress of Psychology in Gottingen an interesting experiment was made with a crowd of presumably trained observers.^[5]

"Not far from the hall in which the Congress was sitting there was a public fête 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^[6] 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."^[7] 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. . . ."^[8]

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?"^[9]

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 polkadot 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 to recall what he saw, the odds are that he will remember chiefly some landscape in a parlor.

Unless he has been drunk or dreaming or insane he did see a sunset, but he saw in it, and above all remembers from it, more of what the oil painting taught him to observe, than what an impressionist painter, for example, or a cultivated Japanese would have seen and taken away with him. And the Japanese and the painter in turn will have seen and remembered more of the form they had learned, unless they happen to be the very rare people who find fresh sight for mankind. In untrained observation we pick recognizable signs out of the environment. The signs stand for ideas, and these ideas we fill out with our stock of images. We do not so much see this man and that sunset; rather we notice that the thing is man or sunset, and then see chiefly what our mind is already full of on those subjects.

3

There is economy in this. For the attempt to see all things freshly and in detail, rather than as types and generalities, is exhausting, and among busy affairs practically out of the question. In a circle of friends, and in relation to close associates or competitors, there is no shortcut through, and no substitute for, an individualized understanding. Those whom we love and admire most are the men and women whose consciousness is peopled thickly with persons rather than with types, who know us rather than the classification into which we might fit. For even without phrasing it to ourselves, we feel intuitively that all classification is in relation to some purpose not necessarily our own; that between two human beings no association has final dignity in which each does not take the other as an end in himself. There is a taint on any contact between two people which does not affirm as an axiom the personal inviolability of both.

But modern life is hurried and multifarious, above all physical distance separates men who are often in vital contact with each other, such as employer and employee, official and voter. There is neither time nor opportunity for intimate acquaintance. Instead we notice a trait which marks a well known type, and fill in the rest of the picture by means of the stereotypes we carry about in our heads. He is an agitator. That much we notice, or are told. Well, an agitator is this sort of person, and so he is this sort of person. He is an intellectual. He is a plutocrat. He is a foreigner. He is a "South European." He is from Back Bay. He is a Harvard Man. How different from the statement: he is a Yale Man. He is a regular fellow. He is a West Pointer. He is an old army sergeant. He is a Greenwich Villager: what don't we know about him then, and about her? He is an international banker. He is from Main Street.

The subtlest and most pervasive of all influences are those which create and maintain the repertory of stereotypes. We are told about the world before we see it. We imagine most things before we experience them. And those preconceptions, unless education has made us acutely aware, govern deeply the whole process of perception. They mark out certain objects as familiar or strange, emphasizing the difference, so that the slightly familiar is seen as very familiar, and the somewhat strange as sharply alien. They are aroused by small signs, which may vary from a true index to a vague analogy. Aroused, they flood fresh vision with older images, and project into the world what has been resurrected in memory. Were there no practical uniformities in the environment, there would be no economy and only error in the human habit of accepting foresight for sight. But there are uniformities sufficiently accurate, and the need of economizing attention is so inevitable, that the abandonment of all stereotypes for a wholly innocent approach to experience would impoverish human life.

What matters is the character of the stereotypes, and the gullibility with which we employ them. And these in the end depend upon those inclusive patterns which constitute our philosophy of life. If in that philosophy we assume that the world is codified according to a code which we possess, we are likely to make our reports of what is going on describe a world run by our code. But if our philosophy tells us that each man is only a small part of the world, that his intelligence catches at best only phases and aspects in a coarse net of ideas, then, when we use our stereotypes, we tend to know that they are only stereotypes, to hold them lightly, to modify them gladly. We tend, also, to realize more and more clearly when our ideas started, where they started, how they came to us, why we accepted them. All useful history is antiseptic in this fashion. It enables us to know what fairy tale, what school book, what tradition, what novel, play, picture, phrase, planted one preconception in this mind, another in that mind.

4

Those who wish to censor art do not at least underestimate this influence. They generally misunderstand it, and almost always they are absurdly bent on preventing other people from discovering anything not sanctioned by them. But at any rate, like Plato in his argument about the poets, they feel vaguely that the types acquired through fiction tend to be imposed on reality. Thus there can be little doubt that the moving picture is steadily building up imagery which is then evoked by the words people read in their newspapers. In the whole experience of the race there has been no aid to visualization comparable to the cinema. If a Florentine wished to visualize the saints, he could go to the frescoes in his church, where he might see a vision of saints standardized for his time by Giotto. If an Athenian wished to visualize the gods he went to the temples. But the number of objects which were pictured was not great. And in the East, where the spirit of the second commandment was widely accepted, the portraiture of concrete things was even more meager, and for that reason perhaps the faculty of practical decision was by so much reduced. In the western world, however, during the last few centuries there has been an enormous increase in the volume and scope of secular description, the word picture, the narrative, the illustrated narrative, and finally the moving picture and, perhaps, the talking picture.

Photographs have the kind of authority over imagination to-day, which the printed word had yesterday, and the spoken word before that. They seem utterly real. They come, we imagine, directly to us without human meddling, and they are the most effortless food for the mind conceivable. Any description in words, or even any inert picture, requires an effort of memory before a picture exists in the mind. But on the screen the whole process of observing, describing, reporting, and then imagining, has been accomplished for you. Without more trouble than is needed to stay awake the result which your imagination is always aiming at is reeled off on the screen. The shadowy idea becomes vivid; your hazy notion, let us say, of the Ku Klux Klan, thanks to Mr. Griffiths, takes vivid shape when you see the Birth of a Nation. Historically it may be the wrong shape, morally it may be a pernicious shape, but it is a shape, and I doubt whether anyone who has seen the film and does not know more about the Ku Klux Klan than Mr. Griffiths, will ever hear the name again without seeing those white horsemen.

5

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,^[10] 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.

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1. 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.

2. Wm. James, Principles of Psychology, Vol. 1, p. 488.
3. John Dewey, How We Think, p. 121.
4. Op. cit., p. 133.
5. A. von Gennep, La formation des légendes, pp. 158–159. Cited F. van Langenhove, The Growth of a Legend, pp. 120–122.
6. Bernard Berenson, The Central Italian Painters of the Renaissance, pp. 60, et seq.
7. 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."
8. The Central Italian Painters, pp. 66–67.
9. Cited by Mr. Edward Hale Bierstadt, New Republic, June 1 1921, p. 21.
10. Graham Wallas, Our Social Heritage, p. 17.