[1118]. Grimm’s chapter on gender in the third volume of his Grammar remains the masterpiece of investigation in this subject; but his theory has been attacked by Brugmann. See, too, President Wheeler, “Origin of Grammatical Gender,” Journal Germanic Philology, II. 528 ff. Grimm defines gender, III. 346, “eine in der phantasie der menschlichen Sprache entsprungene ausdehnung des natürlichen auf alle und jede gegenstände.”
[1119]. Ibid., III. 354.
[1120]. Grimm says the Englishman calls “she” whatever is dear to him—the sailor his ship, the miller his mill; III. 546.
[1121]. Reflexions Critiques, ed. 1770, I. 298. “La Poësie du style fait la plus grande différence qui soit entre les vers et la prose.... Les images et les figures doivent être encore plus fréquentes dans la plupart des genres de la Poësie, que dans les discours oratoires.... C’est donc la Poësie du style qui fait le Poëte, plutôt que la rime et la césure.... Cette Partie de la Poësie la plus importante.” See also p. 312, in § xxxv.
[1122]. Essay on Poetry with Reference to Aristotle’s Poetics, ed. Cook, p. 11.
[1123]. Some representative definitions of this sort are collected and quoted by Dr. Gertrude Buck in an interesting paper, The Metaphor: a Study on the Psychology of Rhetoric, being No. 5 of the “Contributions to Rhetorical Theory,” edited by Professor Scott, Ann Arbor,—no date, but about 1899,—p. 40.
[1124]. Poetik, p. 87 f. See also p. 83. On p. 262 he opens, however, a dangerous door for the interests of this theory.
[1125]. Altgermanische Poesie, p. 20.
[1126]. Modern writers on æsthetics make the same error: so Biese, “Das Metaphorische in der dichterischen Phantasie,” Zst. f. vgl. Lit., N. F. II. 320, makes the primitive process from simile to metaphor.
[1127]. On pp. 90 ff.