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274<br />

Theory of Literature<br />

intuitively, though provisionally, grasp what is essential to the<br />

genre which is his concern, and then go to the origins of the<br />

genre, to verify or correct his hypothesis. Though the genre will<br />

appear in the history exemplified in the individual works, it will<br />

not be described by all traits of these individual works: we must<br />

conceive of genre as a "regulative" concept, some underlying<br />

pattern, a convention which is real, i.e., effective because it ac-<br />

tually molds the writing of concrete works. The history never<br />

needs to reach a specific aim in the sense that there cannot be<br />

any further continuation or differentiation of a genre, but, in<br />

order to write a proper history, we shall have to keep in mind<br />

some temporal aim or type.<br />

Exactly analogous problems are raised by a history of a period<br />

or movement. The discussion of development must have shown<br />

that we cannot agree with two extreme views: either the meta-<br />

physical view that period is an entity whose nature has to be<br />

intuited, or the extreme nominalistic view that period is a mere<br />

linguistic label for any section of time under consideration for<br />

the purposes of description. Extreme nominalism assumes that<br />

period is an arbitrary superimposition on a material which in<br />

reality is a continuous directionless flux, and thus leaves us with<br />

a chaos of concrete events on the one hand and with purely sub-<br />

jective labels on the other. If we hold this view, then obviously<br />

it does not matter where we put a cross-section through a reality<br />

essentially uniform in its manifold variety. It is then of no importance<br />

what scheme of periods, however arbitrary and me-<br />

chanical, we adopt. We can write literary history by calendar<br />

centuries, by decades, or by years, in an annalistic fashion. We<br />

may even adopt such a criterion as Arthur Symons did in his<br />

book on The Romantic Movement in English Poetry. 28 He dis-<br />

cusses only authors born before 1 800 and of those only such as<br />

died after 1800. Period is then merely a convenient word, a<br />

necessity in the subdivision of a book or the choice of a topic.<br />

This view, though frequently unintended, underlies the practice<br />

of books which devoutly respect the date lines between centuries<br />

or which set to a topic exact limitations of date (e.g., 1700- 1750)<br />

unjustified by any reason save the practical need for some limits.<br />

This respect for calendar dates is legitimate, of course, in purely<br />

bibliographical compilations, where it provides such orientation

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