[45]. Fröhliche Wissenschaft, pp. 44 f. See also p. 180.
[46]. Compare Ribot’s idea of what he calls the æsthetic conquest of nature, Psychology of the Emotions, p. 345, with Professor Patten’s remorselessly economic theory that appreciation of these things depends on cheap and warm woollen underclothing.
[47]. Pulszky, The Theory of Law and Civil Society, London, 1888, p. 107. “Selfishness,” by the way, is not a good name for the quality he has in mind; but the method is relevant.
[48]. “La doctrine évolutive et l’histoire de la littérature,” Revue des deux Mondes, 15 Fev. 1898. See especially pp. 889, 892 ff. See also his Évolution des Genres, particularly the chapter on Taine.
[49]. “Louis Bertrand, qui signait en bon romantique Aloïsius Bertrand,” 1807-1841, born at Céra in Piedmont.
[50]. Now very rare. It appeared, edited by M. Pavie, in 1842. See Sainte-Beuve, Portraits Littéraires, II. 343 ff.
[51]. C. Asselineau in Les Poètes Français, Tom. IV., 1862, p. 697.
[52]. Sainte-Beuve gives four specimens of Bertrand’s “poems” in prose. Brunetière, Questions de Critique, p. 202, quotes with approval Gautier’s words: “Vouloir séparer le vers de la poésie, c’est une folie moderne qui ne tend à rien moins que l’anéantissement de l’art lui-même.”
[53]. Italics not in Shelley’s essay.—For these very sentences, so poetical in their prose, see Hegel (on the poetic sentence), Aesthetik, III. 248 f.
[54]. Reflexions, ed. ¹ 1770, I. 508 ff. A poem in prose is like an engraving; all is here save colour, all is there save verse. The Princesse de Cleves and Télémaque are poems. Does not colour make the painting, though? Verse the poem? In the next section he prudently asserts, “qu’il est inutile de disputer si la partie du dessein et de l’expression est préferable à celle du coloris.” It is a matter of taste; trahit sua quemque voluptas. Both in poetry and painting “genius” is the main thing,—so he had decided in earlier sections.