PREFACE

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The sense of taste is in numerous ways the most paradoxical of all the senses. Although, as a source of sense impression, it can afford the keenest immediate feelings of pleasure and delight, the books on Æsthetics and art have little or nothing to say about it. Skill in the compounding of tastes and flavors, or discrimination in their relish, brings the expert neither artistic recognition nor social eminence. Taste, it is constantly asserted, is one of the “lower senses,” and neither in the enjoyment of it nor the ministration to it is there to be acquired the merit and general esteem that readily distinguish an art from a service.

Nevertheless we commonly use the word “taste” for the expression of just those qualities of fine discrimination and delicate perception which are most conspicuously the marks of Æsthetic appreciation. In our choice of figures of speech we reserve “vision” for the impersonal and remote intuition of the seer and the philosopher. “Touch” we use to express such intimate and personal impressions as sympathy and pity. “Sound” seems best to indicate, through “noise” or “tone,” either the self-seeking clamor of aggression or the mere passive possession of a certain richness of quality. “Odor,” in its most common figurative use, suggests the reprehensible and undesirable motive. “Warmth” and “chill” bespeak at once the depth of emotion or affection. But the special fineness of soul which shows itself in the active and judicious choice of the appropriate and the harmonious, the subtly fitting and the delicately adapted, seems best expressed by the name of one of the “lowest” and most “vulgar” of senses,—“taste.” Whether the judgment be exercised in the choice of color harmony or musical composition, costume or personal ornament, architecture, monument, design or arrangement, poetry or passing jest, rug, menu, pastime or associates, it is the sense of taste which furnishes the apt name for the critical capacity.

Not only is it in the usages of language that taste is a paradoxical sense; it is at the same time one of the most ancient of the special senses and also one about which exact knowledge is most difficult to acquire. It seems to afford a multitude of varying and distinctive nuances of sensation, yet it can boast but a meager equipment of four fundamental sense qualities. It is a primitive and well-established sense in the evolution of man, and individuals might therefore be expected to resemble each other closely in their experience of it; yet the most trite of proverbs insists that “there is no accounting for tastes.” Indeed, in some languages it is even impossible to find distinctive names for such common taste experiences as bitter or even salt and sour. A survey of the phenomena and laws of the sense of taste reveals, in fact, no end of curious and interesting situations.

Of particular interest are the recent demonstrations of the great importance of taste for the general well-being of the organism. With the development of civilized modes of living men cease to rely implicitly or entirely on the sense of taste in their discrimination between wholesome and deleterious foods. They substitute for taste the evidence of the commercial trade-mark, the label, and the pure-food guarantee. It might have been supposed that under such circumstances the sense of taste would deteriorate through loss of function. But recent studies show that sensations of taste do far more than serve as clues to the acceptance or rejection of food. Such sensations appear, in fact, to be the initial stimulus to the whole series of digestive and assimilative processes on which the well-being of the organism depends. In much the same way the dulling or perversion of the taste sensations is often seen to constitute an early warning of grave disorder in the system as a whole, and their restoration to presage the return to normal health.

Developing as one of the earliest forms of sensitiveness, intimately associated with the vital processes of life and growth, affording manifold richness of pleasure and aversion, full of paradoxical surprises and puzzling problems, and figuratively expressing one of the rarest of human qualities, “the sense of taste” constitutes one of man’s most interesting contacts with the outer world.

In the chapters which follow an attempt is made to portray this contact in a manner which is both clear and concrete, yet scientifically accurate and technically complete. There are first considered the actual experiences which the sense of taste affords, their character, their analysis into the elementary qualities, and the classification, relations, and manner of combination of these qualities. A consideration of the delicacy of the taste sense, the precision of taste discrimination, and their methods of measurement, is followed by a discussion of the time relations of taste sensations, and a description of various special characteristics and phenomena of normal and abnormal tastes.

At this point there is presented a detailed description and illustration of the mechanism and function of the organ of taste, its gross structure and anatomy, its accessory apparatus, its more minute nervous basis and composition, and its evolution in the individual and in the lower animal forms. Chapters are given to the nature of the external stimulus which provokes taste sensations, to disorders of the taste sense, to the differences between individuals, and to the function of sensations of taste in the higher mental processes of imagination, association, memory, and emotion. Finally, an account of the function of taste in the life of the organism is followed by a consideration of the place of the sense of taste in Æsthetics and art, and in the complex interplay of human thought and social communication.


                                                                                                                                                                                                                                                                                                           

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