NOTES.
Reading edition
NOTES.
‘the air around them
looks radiant as the air around a star’;
also Triumph of Life:
‘as veil by veil the silent splendour drops
From Lucifer’.
I have felt A presence that disturbs me with the joy Of elevated thoughts: a sense sublime Of something far more deeply interfused, Whose dwelling is the light of setting suns, And the round ocean and the living air, And the blue sky, and in the mind of man: A motion and a spirit that impels All thinking things, all objects of all thought And rolls through all things.
Not itself an instance of imaginative utterance, although some instances can be found in the poem.
Notes in this chapter
Note 1 · Critique of Judgment, transl. by Meredith, p. 15.Note 2 · E.g. Vernon Lee, The Beautiful.Note 3 · Cf. Chapters X and XXXII, and Impersonality, Index.Note 4 · Clive Bell, Art, p. 25.Note 5 · A.C. Bradley, Oxford Lectures on Poetry, p. 5.Note 6 · G. W. Mackail, Lectures on Poetry. Introduction.Note 7 · We can diagrammatically represent the delusion as follows. What actually occurs is that A, a work of art, causes E an effect in us, which haNote 8 · See Chapter XXIV.Note 9 · This point will be discussed in Chapter XXIV.Note 10 · Again the normality of the artist has to be considered.Note 11 · As will be seen, I am not going to identify ‘beauty’ with ‘communicative efficacy’. This is a trap which it is easy to fall into. A number oNote 12 · Throughout this discussion ‘experience’ will be used in a wide sense to stand for any occurrence in the mind. It is equivalent to ‘mental stNote 13 · A chief advocate of this view is Dr G. E. Moore, whose Principia Ethica and Ethics contain brilliant statements of the position.Note 14 · Cf. F. Brentano, The Origin of the Knowledge of Right and Wrong, pp. 12, 46.Note 15 · Cf. Russell, The Principles of Mathematics, p. 100. “On this principle, from which I can see no escape, that every genuine word must have soNote 16 · E.g., “The value of the object is its capacity of becoming the object of feeling and desire through actualisation of dispositional tendencieNote 17 · Or, of course, aversions. In what follows we shall take no further note of aversions. To do so would introduce inessential complications. ThNote 18 · This view plainly has close connections with Utilitarianism. In fact if Bentham’s editor is to be trusted in his interpretation of his masteNote 19 · Cf. W. J. Perry, The Origin of Magic and Religion, p. 15.Note 20 · Both ‘enjoyment’ and ‘satisfaction’ are unsuitable terms in this connection. An unfortunate linguistic gap must be recognised. The full exerNote 21 · Works, Vol. X, p. 560.Note 22 · Not necessarily ‘social workers.’ Only personal communication can show who have the virtues here referred to.Note 23 · What is Art? Section V.Note 24 · What is Art? Section XVI.Note 25 · “This story of the Cenci is indeed eminently fearful and monstrous: anything like a dry exhibition of it on the stage would be insupportableNote 26 · It is true that in mechanics one might draw up a formidable list of names and say “Opposed to all these appeared a certain Einstein”, but thNote 27 · An Essay on Style. The final paragraph.Note 28 · See Chapters XVI, XVIII and XXXI.Note 29 · Clive Bell, Art, p. 49.Note 30 · A. C. Bradley, Oxford Lectures on Poetry, p. 5.Note 31 · Eyeless Sight, p. 22.Note 32 · Dedalus, or Science and the Future, by J. B. S. Haldane.Note 33 · Compare Chapter XXXIV where the ways in which emotive factors interfere with thought are considered.Note 34 · Cf. Piéron, Thought and the Brain, Chapter I.Note 35 · Many apparent questions which begin with the words ‘What’ and ‘Why’ are not questions at all, but requests for emotive Satisfaction.Note 36 · ‘Willing’ is a bad word; I would use conation throughout were it not so likely to increase unnecessarily the difficulty which this chapter wNote 37 · This topic is discussed at length in The Meaning of Meaning.Note 38 · * Titchener, Text-book of Psychology, p. 248.Note 39 · Into conjectures as to what these are, it seems as yet not profitable to enter.Note 40 · Problèmes de Psychologie affective, pp. 141-144.Note 41 · It is probable that Wordsworth and certain that Coleridge if writing to-day would use quite other terms in place of pleasure for describing Note 42 · The fashion in which the term ‘feeling’ shifts about in psychology is notorious as a source of confusion. It would be convenient if it couldNote 43 · “Tragedy is an imitation of an action... effecting through Pity and Terror the correction and refinement (κάθαρςις) of such passions.” PoetiNote 44 · The description of images belongs to the first steps in psychology, and it is often possible to judge the rank and standing of a psychologisNote 45 · Two kinds of onomatopœia should be distinguished. In one the sound of the words (actual or imaginal) is like some natural sound (the buzzingNote 46 · Works, II, 171.Note 47 · It is worth remarking that any application of critical principles must be indirect. They are not any the less useful because this is so. MisNote 48 · This character of blue is the basis of the doctrine of Reynolds, that blue is unsuitable in foregrounds, which led Gainsborough, according tNote 49 · This account of harmony also applies to music. Few modern authorities are content to regard harmony as an affair merely of the physical relaNote 50 · D’Eugène Delacroix au Néo-Impressionisme, p. 39.Note 51 · This remark applies equally strongly to the attempts which are from time to time made to find formulæ for the proportions of buildings. No oNote 52 · The Power of Sound, p. 176.Note 53 · The very strange and important phenomena of apparent telepathy, and the feats of some ‘psychometrists’ and ‘clairvoyants’, although they mayNote 54 · Henry Head, ‘The Conception of Nervous and Mental Energy’ in the British Journal of Psychology, Oct. 1923, Vol. XIV, p. 126.Note 55 · Vision and Design, p. 194.Note 56 · What is Art, Sect. XV.Note 57 · Biographia Literaria, Vol. 11, Ch. XIV, p. 12.Note 58 · The degree of racial difference is peculiarly difficult to estimate. In view of the extent of mixture which has taken place it may be of greNote 59 · These types if they must be admitted, have not yet been described satisfactorily. The defects of such attempts as those of Jung, for exampleNote 60 · Biographia Literaria, Ch. XIII. “The primary IMAGINATION I hold to be the living Power and prime Agent of all human perception, and as a repNote 61 · Coleridge’s distinction between IMAGINATION and Fancy was in part the same as this. But he introduced value considerations also, ImaginationNote 62 · It is useful in this discussion to distinguish between the artist’s personality as involved in his work and such other parts of it as are noNote 63 · A weakness of the modern Irish school (even at its best, in Mr Yeats) or of the exquisite poetry of Mr De la Mare, may be that its sensibiliNote 64 · A specimen: “The thoughtful man, the man on business bent, wends his way to Wembley with definite purpose. He seeketh knowledge, desireth inNote 65 · For another instance see Browning, Parting at Morning.Note 66 · The Keys of the Gates: To the Accuser who is the God of this World.Note 67 · We must, of course, distinguish art of this kind from the Christmas party or magazine kind of production, in which the author provides sometNote 68 · Cf. Prometheus Unbound, Act 1:Note 69 · A very interesting contemporary example in connection with which the problem arises perhaps more acutely than ever before is Mr Eliot’s The Note 70 · E.g. ‘When lovely woman stoops to folly,’ Heraclitus, The Millers Daughter, Alexander Selkirk, and (its best known parts at least) The SkylaNote 71 · Difficulties even here arise, e.g. the poet may be dissatisfied without reason. Coleridge thought Kubla Khan merely ‘a psychological curiosiNote 72 · Even Coleridge was not exempt from this failing. Cf. his comments on Gloster.Note 73 · Essay on Casanova, in Affirmations, p. 115.Note 74 · Affirmations, p. 115.Note 75 · Coleridge’s debt here to Schelling has been over-estimated. Such borrowings as he made were more hampering to him than helpful.Note 76 · Biographia Literaria, II, pp. 12, 14.Note 77 · It may perhaps be desirable to point out that this description of the effects of art follows from the theory of value outlined in Chapter VINote 78 · May I assume that references here will not distress the reader? Tennyson, Scott, Landor, Shelley, Keats, Scott, Anon; Marvell, Donne, PeacocNote 79 · This topic is discussed from a slightly different angle in The Foundations of Æsthetics (Allen and Unwin, 1922).Note 80 · I will quote the familiar passage for the reader’s convenience:Note 81 · Shooting Niagara.Note 82 · Sartor Resartus.Note 83 · Essay on Style.Note 84 · A discussion of Croce’s doctrines might seem advisable at some point. But all that is strictly necessary has already been said in The FoundaNote 85 · ὅμοιον. This word is variously translated ‘resemblance’ (Twining), and ‘truth to life’? (Butcher). Its usual meaning in the Poetics is ‘the Note 86 · Cf. Eastlake, Literature of the Fine Arts. “The elephant with his objectionable legs and inexpressive hide may still be supposed to be a verNote 87 · Preface to Lyrical Ballads.Note 88 · Compare Thomas Rymer, A Short View of Tragedy. “A little preparation and forecast might do well now and then. For his Desdemona’s Marriage, Note 89 · On Poesy or Art.Note 90 · ‘Literature and Religion’ in The Necessity of Art, published by The Student Christian Movement, p. 155.Note 91 · The reader who is a psychologist will notice many points in this statement at which elaboration and qualifications are required. For exampleNote 92 · Revelation Doctrines when once given a foothold tend to interfere everywhere. They serve as a kind of omnipotent major premise justifying anNote 93 · Essay on Style, p. 19.Note 94 · Short View of Tragedy.Note 95 · Cf. A. Clutton-Brock, The Times, 11th July 1922, p. 13.Note 96 · No merit, that is, in this connection. There may be some exceptions to this, cases in which the explicit recognition of the truth of a stateNote 97 · In view of a possible misunderstanding at this point, compare Chapter X, especially the final paragraph. If a belief in Retributive Justice,Note 98 · Cf. Gurney, The Power of Sound, p. 126. “A splendid melodic phrase seems continually not like an object of sense, but like an affirmation; nNote 99 · Percy Dearmer, The Necessity of Art, p. 180.Note 100 · A.W. Pollard, ibidem, p. 135.