[253]. Theatrum Poetarum, first published 1675, ed. Brydges, Canterbury, 1800 (who limits it to English poets, so changing the title), p. xxxvi.
[254]. Ueber Ursprung und Verbreitung des Reimes, Dorpat, 1866, p. 18. “Anschauung” and “Empfindung” are the terms.
[255]. Nature and Elements of Poetry, pp. 76 f.
[256]. Gesammelte Schriften und Dichtungen, Bd. III., three essays, “Die Kunst und die Revolution” (1849); “Das Kunstwerk der Zukunft,” a more important work, dithyrambic, but highly interesting and full of the “folk,” as against “Ihr Intelligenten”; and thirdly, “Kunst und Klima” (1850).
[257]. Ibid., pp. 255 f., 261, 268.
[258]. See especially ibid., pp. 133-207.
[259]. Preface to Cromwell, p. 16: “La société, en effet, commence par chanter ce qu’elle rêve, puis raconte ce qu’elle fait, et enfin se met à peindre ce qu’elle pense,” Hugo’s well-known sequence of lyric, epic, drama.
[260]. L’Art au Point de Vue Sociologique, p. 26.
[261]. This doctrine is in line with modern psychological notions of the part played by intelligent mental selection upon the instinctive material of consciousness. See Lloyd Morgan, Habit and Instinct, pp. 323 f.
[262]. See Shepheard’s Calender, October, Argument,—a specimen of the doctrine in that never-published English Poete.