[137] Lange, Nydelsernes fysiologi, pp. 168, 169. As to the importance of imitative reaction for our enjoyment of sculpture, cf. Vernon Lee and Anstruther Thompson, The Contemporary Review, vol. lxxii., pp. 677-679.
[138] Sully-Prudhomme, L’expression dans les beaux-arts, pp. 4, 5.
[139] Nietzsche, Die Geburt der Tragödie, p. 8.
[140] Goethe, Dichtung und Wahrheit, iii. p. 132. This instance has been adduced by Professor Julius Lange in support of his emotionalistic art-theory; Om Kunstvœrdi, pp. 72-84.
[141] Wallaschek, Mind, N.S. iv. p. 34, “On the Difference of Time and Rhythm in Music;” Bücher, Arbeit und Rhythmus, p. 306.
[142] Cf. Emmanuel, La danse grecque antique, p. 127.
[143] Cf. Creuzer, Symbolik und Mythologie, iii. p. 155; Ruskin avails himself of the same allegory in The Queen of the Air, pp. 66-70.
[144] Revue Critique, 1896, ii. pp. 386, 387; cf. also Groos, Die Spiele der Menschen, pp. 110, 476.
[145] Spencer, Essays, ii. 460.
[146] Cf. Charcot and Richer, Les démoniaques dans l’art, p. 37; Emmanuel, La danse grecque antique, pp. 102, 196-198, 302, 303.