theoryofliteratu00inwell

330 Notes [ffi. igo-iQ4
2. On "Types of Discourse," cf. Charles Morris, Signs, Languages, and
Behavior, New York, 1 946, p. 123 ff. Morris distinguishes twelve
kinds of "discourse," of which those relevant to our chapter—and our
four terms—are "Fictive" (the World of the Novel), "Mythological,"
and "Poetic."
3. Monosign and plurisign are used by Philip Wheelwright, in "The
Semantics of Poetry," Kenyon Review, II (1940), pp. 263-83. The
plurisign is "semantically reflexive in the sense that it is a part of what
it means. That is to say, the plurisign, the poetic symbol, is not merely
employed but enjoyed; its value is not entirely instrumental but largely
aesthetic, intrinsic."
4. Cf. E. G. Boring, Sensation and Perception in the History of Experi-
mental Psychology, New York, 1942; June Downey, Creative Imagi-
nation: Studies in the Psychology of Literature, New York, 1929;
Jean-Paul Sartre, UImagination, Paris, 1936.
5. I. A. Richards, Principles of Literary Criticism, London, 1 924, Chapter
XVI, "The Analysis of a Poem."
6. Ezra Pound, Pavamies and Divisions, New York, 191 8; T. S. Eliot,
"Dante," Selected Essays, New York, 1932, p. 204; Eliot, "A Note on
the Verse of John Milton," Essays and Studies by Members of the
English Association, XXI, Oxford, 1936, p. 34.
7. "Modern psychology has taught us that these two senses of the term
'image' overlap. We may say that every spontaneous mental image is
to some extent symbolical." Charles Baudoin, Psychoanalysis and
Aesthetics, New York, 1924, p. 28.
8. J. M. Murry, "Metaphor," Countries of the Mind, 2nd series, Lon-
don, 193 1, pp. I -1 6; L. MacNeice, Modern Poetry, New York, 1938,
p. 113.
9. An admirable study of one literary movement and its influence upon
another is Rene Taupin's LUnfluence du symbolisme francais sur la
poesie americaine . . . , Paris, 1929.
10. For the terminology here followed, cf. Craig la Driere, The American
Bookman, I (1944), pp. 103-4.
11. S. T. Coleridge, The Statesman's Manual: Complete Works (ed. Shedd,
New York, 1853), Vol. I, pp. 437-8. This distinction between symbol
and allegory was first clearly drawn by Goethe. Cf. Curt Richard
Miiller, Die geschichtlichen Voraussetzungen des Symbolbegriffs in
Goethe's Kunstanschauung, Leipzig, 1937.
12. J. H. Wicksteed, Blake's Innocence and Experience . . . , London,
1928, p. 23; W. B. Yeats, Essays, London, 1924, p. 95 ff., on Shel-
ley's "Ruling Symbols."
When do metaphors become symbols? (a) When the "vehicle" of