FOOTNOTES1After passing this note for press, I learn that this essay has been reprinted at Tokyo in a new edition of Mr. Noguchi’sThe Pilgrimage.2For the reputation of Breughel d’Enfer is based on his imitations of his father, Breughel le Vieux, to whom is attributed theTemptation of St. Anthonyat Genoa.3A piece of money coined by Charles VIII.4Figures that strike the hour on the clock-tower at Dijon.5The quotations in this essay are taken from Dr. Oscar Levy’s admirable English edition of Nietzsche, translated by Drs. W. A. Haussmann and M. A. Mügge, Messrs. Paul V. Cohn, Thomas Common, J. M. Kennedy, A. M. Ludovici and H. B. Samuel, and Miss Helen Zimmern: eighteen volumes published by Mr. T. N. Foulis.6Clarendon Press. 1910.7Oscar Wilde.8These references are to the page-numbers in Messrs. Macmillan’s library edition.9His inability to tell a story was perhaps the reason of, or, at least supplies a commentary upon, his readiness to admire the narratives of M. Filon, Octave Feuillet, Mrs. Humphry Ward, and to admire them, quite ingenuously, for the story’s sake, like the ordinary reader of novels.10The Symbolist Movement in Literature, 1899.11An English translation was published in 1912 by Messrs. Stephen Swift.12When I wrote this article I was still hypnotised, like the symbolists themselves, with the idea that symbolism was a method. My later article on kinetic and potential speech contains what I believe to be a more accurate account of the significance of what is called the “symbolist movement.” It did not turn a practice into a theory, but merely emphasized one of the two inseparable functions of words when combined in poetic speech, and emphasized it at the expense of the other.Japanese poets have always insisted on the potential element in poetic speech. Its intensity has always been for them the test of a poem. Noguchi, except in that he is a Japanese poet who happens to write in English, is not an innovator but the heir to a long Japanese tradition.
FOOTNOTES1After passing this note for press, I learn that this essay has been reprinted at Tokyo in a new edition of Mr. Noguchi’sThe Pilgrimage.2For the reputation of Breughel d’Enfer is based on his imitations of his father, Breughel le Vieux, to whom is attributed theTemptation of St. Anthonyat Genoa.3A piece of money coined by Charles VIII.4Figures that strike the hour on the clock-tower at Dijon.5The quotations in this essay are taken from Dr. Oscar Levy’s admirable English edition of Nietzsche, translated by Drs. W. A. Haussmann and M. A. Mügge, Messrs. Paul V. Cohn, Thomas Common, J. M. Kennedy, A. M. Ludovici and H. B. Samuel, and Miss Helen Zimmern: eighteen volumes published by Mr. T. N. Foulis.6Clarendon Press. 1910.7Oscar Wilde.8These references are to the page-numbers in Messrs. Macmillan’s library edition.9His inability to tell a story was perhaps the reason of, or, at least supplies a commentary upon, his readiness to admire the narratives of M. Filon, Octave Feuillet, Mrs. Humphry Ward, and to admire them, quite ingenuously, for the story’s sake, like the ordinary reader of novels.10The Symbolist Movement in Literature, 1899.11An English translation was published in 1912 by Messrs. Stephen Swift.12When I wrote this article I was still hypnotised, like the symbolists themselves, with the idea that symbolism was a method. My later article on kinetic and potential speech contains what I believe to be a more accurate account of the significance of what is called the “symbolist movement.” It did not turn a practice into a theory, but merely emphasized one of the two inseparable functions of words when combined in poetic speech, and emphasized it at the expense of the other.Japanese poets have always insisted on the potential element in poetic speech. Its intensity has always been for them the test of a poem. Noguchi, except in that he is a Japanese poet who happens to write in English, is not an innovator but the heir to a long Japanese tradition.
1After passing this note for press, I learn that this essay has been reprinted at Tokyo in a new edition of Mr. Noguchi’sThe Pilgrimage.
1After passing this note for press, I learn that this essay has been reprinted at Tokyo in a new edition of Mr. Noguchi’sThe Pilgrimage.
2For the reputation of Breughel d’Enfer is based on his imitations of his father, Breughel le Vieux, to whom is attributed theTemptation of St. Anthonyat Genoa.
2For the reputation of Breughel d’Enfer is based on his imitations of his father, Breughel le Vieux, to whom is attributed theTemptation of St. Anthonyat Genoa.
3A piece of money coined by Charles VIII.
3A piece of money coined by Charles VIII.
4Figures that strike the hour on the clock-tower at Dijon.
4Figures that strike the hour on the clock-tower at Dijon.
5The quotations in this essay are taken from Dr. Oscar Levy’s admirable English edition of Nietzsche, translated by Drs. W. A. Haussmann and M. A. Mügge, Messrs. Paul V. Cohn, Thomas Common, J. M. Kennedy, A. M. Ludovici and H. B. Samuel, and Miss Helen Zimmern: eighteen volumes published by Mr. T. N. Foulis.
5The quotations in this essay are taken from Dr. Oscar Levy’s admirable English edition of Nietzsche, translated by Drs. W. A. Haussmann and M. A. Mügge, Messrs. Paul V. Cohn, Thomas Common, J. M. Kennedy, A. M. Ludovici and H. B. Samuel, and Miss Helen Zimmern: eighteen volumes published by Mr. T. N. Foulis.
6Clarendon Press. 1910.
6Clarendon Press. 1910.
7Oscar Wilde.
7Oscar Wilde.
8These references are to the page-numbers in Messrs. Macmillan’s library edition.
8These references are to the page-numbers in Messrs. Macmillan’s library edition.
9His inability to tell a story was perhaps the reason of, or, at least supplies a commentary upon, his readiness to admire the narratives of M. Filon, Octave Feuillet, Mrs. Humphry Ward, and to admire them, quite ingenuously, for the story’s sake, like the ordinary reader of novels.
9His inability to tell a story was perhaps the reason of, or, at least supplies a commentary upon, his readiness to admire the narratives of M. Filon, Octave Feuillet, Mrs. Humphry Ward, and to admire them, quite ingenuously, for the story’s sake, like the ordinary reader of novels.
10The Symbolist Movement in Literature, 1899.
10The Symbolist Movement in Literature, 1899.
11An English translation was published in 1912 by Messrs. Stephen Swift.
11An English translation was published in 1912 by Messrs. Stephen Swift.
12When I wrote this article I was still hypnotised, like the symbolists themselves, with the idea that symbolism was a method. My later article on kinetic and potential speech contains what I believe to be a more accurate account of the significance of what is called the “symbolist movement.” It did not turn a practice into a theory, but merely emphasized one of the two inseparable functions of words when combined in poetic speech, and emphasized it at the expense of the other.Japanese poets have always insisted on the potential element in poetic speech. Its intensity has always been for them the test of a poem. Noguchi, except in that he is a Japanese poet who happens to write in English, is not an innovator but the heir to a long Japanese tradition.
12When I wrote this article I was still hypnotised, like the symbolists themselves, with the idea that symbolism was a method. My later article on kinetic and potential speech contains what I believe to be a more accurate account of the significance of what is called the “symbolist movement.” It did not turn a practice into a theory, but merely emphasized one of the two inseparable functions of words when combined in poetic speech, and emphasized it at the expense of the other.
Japanese poets have always insisted on the potential element in poetic speech. Its intensity has always been for them the test of a poem. Noguchi, except in that he is a Japanese poet who happens to write in English, is not an innovator but the heir to a long Japanese tradition.