FOOTNOTES:
[1] Bosanquet, Hist. Aesth. p. 18.
[2] Ibid. p. 148.
[3] G. Vico, Scienza nuova seconda, Elementi liii, quoted in Croce’s Aesthetic.
[4] Bosanquet, Hist. Aesth. p. 267, seq.
[5] Croce, Aesthetic, trs. Ainslie, p. 303.
[6] Wildon Carr, The Philosophy of Croce, p. 97.
[7] The clearest summary of Croce’s position is to be found in the brief third section of the first part of his Philosophy of the Practical. Prof. Wildon Carr also has given a very clear account of Croce’s philosophy as a whole in his book on The Philosophy of Benedetto Croce.
[8] Philosophy of the Practical, p. 591.
[9] Philosophy of the Practical, pp. 258-261.
[10] This is not to condemn programme music altogether, for much of the best programme music does not attempt to paint a scene in such a way as to call up visual images. Vide infra.
[11] Cf. the work of the psychoanalytic school, especially Jung’s Psychology of the Unconscious and Rivers’ Dreams and Primitive Culture.
[12] Lyly’s Campaspe.
[13] G. Macdonald, Phantastes.
[14] Evolution and Spiritual Life and Evolution and the Doctrine of the Trinity.
[15] Evolution and Spiritual Life.
[16] Opp. citt. passim.
[17] Evolution and the Doctrine of the Trinity.
[18] I make no apology for not entering here on any discussion of how God can be Love. I have endeavoured to offer suggestions on this matter in my earlier books, and especially in Evolution and the Doctrine of the Trinity.
[19] Evolution and the Doctrine of the Trinity, ch. III.
[20] Evolution and the Doctrine of the Trinity, ch. III.
[21] Ibid. See also Strong, The Origin of Consciousness.
[22] Bosanquet, History of Aesthetic, p. 37.
[23] McDowall, opp. citt.
[24] Evolution and Spiritual Life.
[25] Evolution and Spiritual Life, ch. VI, and Evolution and the Doctrine of the Trinity, ch. VI.
[26] Croce, Logic, p. 279.
[27] Ibid. p. 310.
[28] Croce, Logic, pp. 324-325.
[29] McDowall, opp. citt.
[30] The Psychology of the Unconscious.
[31] Dreams and Primitive Culture.
[32] For the exact sense in which these words are used, and for their implications in regard to God’s creative activity, see Evolution and the Need of Atonement.
[33] A word may be said concerning the personal relationship of fear and hate. Here in self-defence the ‘other’ is not regarded as in personal relation to the person threatened, at all events in early stages of development; he is as external as a flood or a precipice. Nevertheless in fear and hate, when they have reached a high stage of development, there is a feeling of personal relation. But only in one sense can this relation be termed personal; the ‘other’ is recognised as a person, but in concentrating our attention on the things in him we fear and hate we concentrate it on his ‘otherness’—on his lack of any but an external relation to us. There is nothing reciprocal; we refuse to give or receive. It is this externality of relation that makes hate and fear so poignant and so bitter.
[34] Cf. Evolution and the Need of Atonement, ch. IV. et passim.
[35] McDowall, opp. citt. passim.
[36] For detailed consideration of the nature of evolutionary process in material conditions reference may be made to my earlier works, to which the present essay constitutes a postscript.
[37] Even though there may be a mating-call.
[38] I believe that I am right in saying that it is not until the Neolithic period that human (female) images are found, and some of these are probably divinities, though Dr A. C. Haddon informs me that there are Neolithic paintings of human beings on rocks in Spain which presumably do not represent divinities.
[39] Really, geometric art seems to have arisen nearly contemporaneously with representative art, for patterns of considerable complexity and symmetry are found in the later palaeolithic period.
[40] Though the representation of an eye is frequently included in the pattern as a counter-charm, and indeed many of the patterns may originally have had a magical significance, though most seem to be merely inspired by woven basket-work and the like.
[41] Fra Lippo Lippi.
[42] I understand that Purcell’s Fairy Queen has just been played at Cambridge with draped scenes only.
[43] Tchaikovsky, letter to N. F. von Meck, Nov. 27th, 1879.
[44] Tchaikovsky, letter to N. F. von Meck, Feb. 9th, 1878.
[45] Tchaikovsky’s letters to N. F. von Meck give an interesting insight into the process by which the intuition comes to the composer, and his method of working it out. See especially the letters of Feb. 17th, March 5th, and June 24th, 1878.
[46] If one can say that it has a programme and not simply an inspiration.
[47] Letter to Taneiev, March 27th, 1878.
[48] Dec. 5th, 1878.
[49] Petrouchka is said to be equally homogeneous, but I have not seen it, and Carnaval approaches this level.