[†] Vision and Design, p. 194.
[†] What is Art, Sect. XV.
[†] Biographia Literaria, Vol. 11, Ch. XIV, p. 12.
[*] The degree of racial difference is peculiarly difficult to estimate. In view of the extent of mixture which has taken place it may be of great importance in considering even the art of one culture or tradition alone. Cf. F. G. Crookshank, The Mongol in our Midst.
[*] These types if they must be admitted, have not yet been described satisfactorily. The defects of such attempts as those of Jung, for example, are shown by the fact that individuals change so readily and so freely from ‘type’ to ‘type’, being extrovert one hour and introvert the next, rationalist and intuitive from moment to moment. This is of course denied by the Zurich School but not by the majority of observers. To point it out is not to overlook much that is valuable in these distinctions. A satisfactory classification would doubtless be very complex, and perhaps of the form: An individual of Type A is extrovert under these conditions, introvert under those, etc.
[*] Biographia Literaria, Ch. XIII. “The primary IMAGINATION I hold to be the living Power and prime Agent of all human perception, and as a repetition in the finite mind of the eternal act of creation in the infinite I AM.” The luminous hints dropped by Coleridge in the neighbourhood of this sentence would seem to have dazzled succeeding speculators. How otherwise explain why they have been overlooked.
[*] Coleridge’s distinction between IMAGINATION and Fancy was in part the same as this. But he introduced value considerations also, Imagination being such combination or fusion of mental elements as resulted in certain valuable states of mind, and Fancy being a mere trivial playing with these elements. The discussion of this distinction will be postponed to Chapter XXXII, where the different uses of the term ‘imagination’ are separated.
[*] It is useful in this discussion to distinguish between the artist’s personality as involved in his work and such other parts of it as are not involved. With these last we are not here concerned.
[*] A weakness of the modern Irish school (even at its best, in Mr Yeats) or of the exquisite poetry of Mr De la Mare, may be that its sensibility is a development out of the main track. It is this which seems to make it minor poetry in a sense in which Mr Hardy’s best work or Mr Eliot’s The Waste Land is major poetry.
[*] A specimen: “The thoughtful man, the man on business bent, wends his way to Wembley with definite purpose. He seeketh knowledge, desireth increase of commerce or willeth to study new epoch-making inventions.”—Official Advertisement.