theoryofliteratu00inwell

ff. 208-211] Notes 333
tenor and the vehicle, and those which work through some common
attitude which we may . . . take up towards them both."
37. The later Shakespeare abounds in rapidly shifting figures, what older
pedagogues would call "mixed metaphors." Shakespeare thinks quicker
than he speaks, one could put it, says Wolfgang Clemen, Shakesfeares
Bilder . . . , Bonn, 1936, p. 144.
38. H. W. Wells, Poetic Imagery, New York, 1924, p. 127.
As characteristic users of the Radical image, Wells {of. cit., pp.
136-7) cites Donne, Webster, Marston, Chapman, Tourneur, and
Shakespeare, and out of the late nineteenth century, George Meredith
(whose Modem Love he pronounces "an unusually condensed and interesting
body of symbolic thought") and Francis Thompson. From
Thompson come the lines:
"At evening, when the lank and rigid trees
To the mere forms of their sweet day-selves drying
On heaven's blank leaf seem fressed and flattened.'''
39. The imagery of Macbeth is brilliantly considered by Clean th Brooks
in "The Naked Babe and the Cloak of Manliness," The Well Wrought
Urn, New York, 1947, pp. 21-46.
40. As far back as Quintilian {Institutes, Bk. VIII, chap. 6), a basic dis-
tinction between kinds of metaphors has been felt to equate the dis-
tinction between organic and inorganic. Quintilian's four kinds are:
one sort of living thing for another; one inanimate thing for another;
the inanimate put for the animate; and the animate put for the in-
animate.
Pongs calls the first of his types the Beseeltyfus and the second the
Erfuhltyfus. The first animizes or anthropomorphizes; the second
empathizes.
41. For Ruskin on the "Pathetic Fallacy," cf. Modem Painters, London,
1856, Vol. Ill, Pt. 4. The examples cited exempt the simile from
indictment because it keeps natural fact separate from emotional
evaluation.
On the polar heresies of Anthropomorphism and Symbolism, cf.
M. T.-L. Penido's brilliant book, Le Role de I'analogie en theologie
dogmatique, Paris, 193 1, p. 197 ff.
42. M. A. Ewer, Survey of Mystical Symbolism, London, 1933, p. 164-6.
43. Vossler, Spengler, T. E. Hulme {Speculations, London, 1924), and
Yeats, as well as Pongs, have been stimulated by Wilhelm Worringer's
Abstraktion und Einfiihlung, Berlin, 1908.
Our first quotation comes from Joseph Frank's admirable study of
"Spatial Form in Modern Literature," Sewanee Review, LIII (1945),