theoryofliteratu00inwell

334 Notes [pp. 211-215
p. 64.5
; our second from Spengler, who quotes Worringer in his dis-
cussion of the Magian culture, Decline of the West, New York, 1926,
Vol. I, pp. 183 ff., 192.
44. Cf. Ernest Kris, "Approaches to Art," in Psychoanalysis Today (ed.
S. Lorand), New York, 1944, pp. 360-2.
45. W. B. Yeats, Autobiography, New York, 1938, pp. 161, 219-25.
46. K. Vossler, Spirit of Language in Civilization (tr., London, 1932),
p. 4. Karl Vossler well remarks that mages and mystics are permanent
and opposed types. "There is constant strife between magic, which uses
language as a tool and thereby seeks to bring as much as possible, even
God, under its control, and mysticism, which breaks, makes valueless,
and rejects, all forms."
47. H. Pongs, Das Bild, Vol. I, p. 296.
48. Emily Dickinson, Collected Poems, Boston, 1937, pp. 192, 161; cf.
also p. 38 ("I laughed a wooden laugh") and p. 215 ("A clock
stopped—not the mantel's").
49. For the significance of Byzantium, cf. Yeats' A Vision, London, 1938,
pp. 279-81.
50. Hermann Nohl, Stil und Weltanschauung, Jena, 1920.
51. Cf. Emile Cailliet, Symbolisme et ames primitives, Paris, 1936, for
a remarkably unblushing, uncritical acceptance of equivalence between
the prelogical mind of primitive peoples and the aims of Symboliste
poets. To the abstracting, conceptual operations of the modern post-
Cartesian intellect, Cailliet contrasts the "participation mystique" of
primitive man and the poet, the inability to distinguish between sign
and thing signified.
52. MacNeice, of. cit., p. 111.
53. Cf. Harold Rosenberg, "Myth and Poem," Symposium, II (1931),
pp. 179 ff-
54. Gladys Wade, Thomas Traherne, Princeton, 1944, pp. 26-37. C/«
the critical review of the book by E. N. S. Thompson, Philological
Quarterly, XXIII (1944), pp. 383-4.
55. Dr. Johnson, Lives of the Poets, "Thomson."
On the argument from imagistic silence, including the examples
we cite, cf. L. H. Hornstein's penetrating "Analysis of Imagery,"
PMLA, LVII (1942), pp. 638-53.
56. Mario Praz, English Studies, XVIII (1936), pp. 177-81, wittily re-
views Miss Spurgeon's Shakespeare's Imagery and What It Tells Us
(Cambridge, 1935), especially its first part, "The Revelation of the
Man," with its "fallacy of trying to read . . . into Shakespeare's
images his senses, tastes, and interests," and rightly praises Clemen
(whose book appeared in 1936) for thinking that "Shakespeare's use