theoryofliteratu00inwell

302 Notes [pp. 25-32
believe that we are apprehending something that can be expressed
intellectually; for every precise emotion tends towards intellectual
formulation."
11. Susanne K. Langer, Philosophy in a New Key, Cambridge, Mass.,
1942, "Discursive Forms and Presentational Forms," p. 79 ff.
12. Op. cit., p. 288.
13. The fact that librarians lock up and that censors prohibit the sale
of some books only does not prove that those books alone are propa-
ganda, even in the popular sense. It proves, rather, that the prohibited
books are propaganda in behalf of causes disapproved by the ruling
society.
14. Eliot, "Poetry and Propaganda," in Literary Opinion in America (ed.
Zabel), New York, 1937, p. 25 ff.
15. Stace, op. cit., p. 164 ff.
16. Goethe, Dichtung uni Wahrheit, Bk. XIII. Collingwood {op. cit.,
pp.
1 2 1-4) distinguishes "expressing emotion" (art) from "betray-
ing emotion," one form of not-art.
17. Plato, Republic, X, § 606 D; Augustine, Confessions, I, p. 21
A. Warren, "Literature and Society," Twentieth Century English
(ed. W. S. Knickerbocker), New York, 1946, pp. 304-14.
18. Spingarn's History of Literary Criticism in the Renaissance (New
York, rev. ed., 1 924) surveys our topic under the terms "function"
and "justification" of poetry.
19. A. C. Bradley, "Poetry for Poetry's Sake," Oxford Lectures on
Poetry, Oxford, 1909, pp. 3-34.
CHAPTER. IV
Literary Theory, History, and Criticism
1. Philip August Boekh, Encyklopadie und Methodologie der philolo-
gischen Wissenschaften, Leipzig, 1877 (Second ed. 1886).
2. F. W. Bateson, "Correspondence," Scrutiny, IV (1935), pp. 181-85.
3. Ernst Troeltsch, Der Historismus und seine Probleme, Tubingen,
1922; Der Historismus und seine Uberzvindung, Berlin, 1924.
4. Hardin Craig, Literary Study and the Scholarly Profession, Seattle,
Wash., 1944, p. 70. Cf. also: "The last generation has rather un-
expectedly decided that it will discover the meaning and values of old
authors themselves and has pinned its faith to the idea, for example,
that Shakespeare's own meaning is the greatest of Shakespearean mean-
ings." Pp. 126-7.
5. E.g., in Poets and Playwrights, Minneapolis, 1930, p. 217; and From
Shakespeare to Joyce, New York, 1944, p. ix.
;