[*] Two kinds of onomatopœia should be distinguished. In one the sound of the words (actual or imaginal) is like some natural sound (the buzzing of bees, galloping horses, and so forth). In the other it is not like any such sound but such as merely to call up free auditory images of the sounds in question. The second case is by far the more common.
[†] Works, II, 171.
[*] It is worth remarking that any application of critical principles must be indirect. They are not any the less useful because this is so. Misunderstanding on this point has often led artists to accuse critics of wishing to make art a matter of rules, and their objection to any such attempt is entirely justified.
[*] This character of blue is the basis of the doctrine of Reynolds, that blue is unsuitable in foregrounds, which led Gainsborough, according to the well-known story, to paint The Blue Boy.
[*] This account of harmony also applies to music. Few modern authorities are content to regard harmony as an affair merely of the physical relationships of notes.
[†] D’Eugène Delacroix au Néo-Impressionisme, p. 39.
[*] This remark applies equally strongly to the attempts which are from time to time made to find formulæ for the proportions of buildings. No one with an adequate idea of the complexity of the factors which determine our responses is likely to attach great importance to these investigations, interesting though they are. The interpretation of the results is not within sight of even the most optimistic of psychologists.
[†] The Power of Sound, p. 176.
[*] The very strange and important phenomena of apparent telepathy, and the feats of some ‘psychometrists’ and ‘clairvoyants’, although they may call for a great extension of our ideas as to how minds influence one another, do not require any such desperate devices as transference of, or participation in, identical experiences. If they did, the possibility of investigating them by the only technique with which anything has ever been successfully investigated would be remote. On any ‘identity’ or ‘participation’ theory, communication becomes an ineffable and irremovable mystery. There may, of course, be any number of strange events occurring about which we cannot know, but to discuss such events is unprofitable.
[†] Henry Head, ‘The Conception of Nervous and Mental Energy’ in the British Journal of Psychology, Oct. 1923, Vol. XIV, p. 126.