[29] Scripture, op. cit., p. 54.
[30] Proceedings of American S.P.R., vol. i. No. 4, p. 360.
[31] See Proceedings S.P.R., vol. viii. p. 337 [§ 311].
[32] On this point see Professor James's Principles of Psychology, vol. ii. p. 84, note. Goethe's well-known phantasmal flower was clearly no mere representation of retinal structure. A near analogy to these patterns lies in the so-called "spirit-drawings," or automatic arabesques, discussed elsewhere in this chapter.
[33] See Professor Ladd's paper on this subject in Mind, April 1892.
[34] "Le Subconscient chez les Artistes, les Savantes, et les Ecrivains," par le Dr. Paul Chabaneix, Paris, 1897.
[35] Instances of this form of automatism are described in a book called Spirit Drawings: a Personal Narrative, by W. M. Wilkinson, some account of which is given in Appendix 811 A (Vol. II.) of the unabridged edition.
[36] L'Année Psychologique, i. 1894, p. 124, F. de Curel, par A. Binet [§ 330].
[37] In Wordsworth's Prelude we find introspective passages of extreme psychological interest as being deliberate attempts to tell the truth about exactly those emotions and intuitions which differentiate the poet from common men.
[38] In the passage which follows some use has been made of Jowett's translation. It is noticeable that this utterance, unsurpassed among the utterances of antiquity, has been placed by Plato in the mouth of a woman—the prophetess Diotima—with the express intention, as I think, of generalising it, and of raising it above the region of sexual passion. There is nothing else in antiquity resembling the position thus ascribed to Diotima in reference to Socrates,—the woman being represented as capable of raising the highest and of illumining the wisest soul.