theoryofliteratu00inwell

ff. 78-80] Notes 311
fiir Asthetik, II (1907), pp. 501-34; Albert Wellek, "Das Doppelempfinden
in der Geistesgeschichte," Zeitschrift filr Asthetik, XXIII
(1929), pp. 14-42; "Renaissance- und Barock-synasthesie," Deutsche
Vierteljahrschrift filr Literaturwissenschaft, IX (1931), pp. 534-84;
E. v. Erhardt-Siebold, "Harmony of the Senses in English, German
and French Romanticism," PMLA, XLVII (1932), pp. 577-92;
W. Silz, "Heine's Synesthesia," PMLA, LVII (1942), pp. 469-88;
S. de Ullman, "Romanticism and Synaesthesia," PMLA, LX (1945),
pp. 811-27; A. G. Engstrom, "In Defense of Synaesthesia in Litera-
ture," Philological Quarterly, XXV (1946), pp. 1-19.
6. Cf. Richard Chase, "The Sense of the Present," Kenyon Review,
VII (1945), p. 218 ft. The quotations from T. S. Eliot's The Use of
Poetry occur on pp. 118-9, 155, and 148 and n. The essay to which
Eliot refers, "Le Symbolisme et l'ame primitive," appeared in the
Revue de litterature compare e, XII (1932), 356-86. Cf. also Emile
Cailliet's Symbolism et ames -primitives, Paris, 1 936, the "conclusion"
of which reports a conversation with Eliot.
7. Carl J. Jung, "On the Relation of Analytical Psychology to Poetic
Art," Contributions to Analytical Psychology, London, 1928, and
Psychological Types (tr. H. G. Baynes), London, 1926; and cf.
J. Jacobi, The Psychology of Jung (tr. Bash), New Haven, 1943.
British philosophers, psychologists, and aestheticians publicly indebted
to Jung include John M. Thorburn, Art and the Unconscious, 1925;
Maud Bodkin, Archetypal Patterns in Poetry: Psychological Studies
of Imagination, 1934; Herbert Read, "Myth, Dream, and Poem,"
transition, No. 27 (1928), p. 176 ff. ; H. G. Baynes, Mythology of
the Soul, London, 1940; M. Esther Harding, Women's Mysteries,
London, 1935.
8. On character typologies, cf., for a historical account, A. A. Roback,
The Psychology of Character with a Survey of Temperament, New
York, 1928; Eduard Spranger, Types of Men-: the Psychology . . .
of Personality (tr. Pigors), Halle, 1928; Ernst Kretschmer, Physique
and Character . . . (tr. Sprott), London, 1925; The Psychology of
Men of Genius (tr. Cattell), London, 193 1. On the "maker" and
the "possessed," cf. W. H. Auden, "Psychology and Art," The Arts
Today (ed. G. Grigson), London, 1935, pp. I-2I.
9. F. W. Nietzsche, Die Geburt der Tragodie, 1872; Th. Ribot, Essai
sur Pimagination creatrice, Paris, 1900 (tr. Baron, London, 1906);
Liviu Rusu, Essai sur la creation artistique, Paris, 1935. The
"daemonic" comes from Goethe (first used in Urworte, 1 817) and
has been a prominent concept in modern German theory; cf. M.