Page 269. †Pliny remarks (Natural History, xxx, 13): "Today Britain practises the art [of magic] with religious awe and with so many ceremonies that it might seem to have made the art known to the Persians." See Mac Culloch, Religion of the Ancient Celts, 1911, pp. 249-250, 293 ff., 300, 311, 325.

Page 269. Cicero, De Natura Deorum, II, 66; Aristotle, Problemata, 30, 1; Seneca, De Tranquillitate Animi, 17; Absalom and Achitophel, 163–164.

Page 270. *On "The Lover's Malady of Ereos," see J. L. Lowes, Modern Philology, XI, 491 ff.

Page 271. *Cuchulinn was also afflicted by battle-frenzy which made him proceed against his enemies with a rage akin to that of the Old Norse berserker; cf. Rhŷs, Arthurian Legend, pp. 216–217.

According to some traditions, Heracles, after his return from Hades, was seized with madness a calamity sent to

him by Hera for a feigned reason.

Page 271. †See Malory, Bk. XI, ch. 8 ff., XII, ch. 1 ff.; cf. Wentz, p. 316.

Page 271. See Schofield, Studies on the Libeaus Desconus., pp. 197 ff.

Page 272. *The Lay of Narcissus and the Lay of Aristotle, show the naturalness with which antique fables could be treated in the style of Breton lays. There were all sorts of lays, but " most they ben of faery." The charm of other world music appears in Yonec.

Page 273. *See As You Like It, III, iii, 19. Blackwell remarked (Essay on Homer, pp. 145 f.): “Fiction and lying are inseparable from poetry. This was the first profession of the Muses, as they told Hesiod one day they appeared to him while he fed his lambs in a vale of Helicon: Shepherd, said they,

'Tis ours false tales to frame, resembling true;
And ours t' unfold the truth itself to men,

Then they gave him a fair rod, a shoot of verdant laurel, breathed into him a divine song, and made him celebrate things past and things to come.'

66

Page 274. *Plato, Ion, 533-535, trans. Jowett. Plato concludes in the Meno (p. 99) that not only diviners and prophets and poets, but also statesmen, may be said to be divine and illumined, being inspired and possessed of God, in which condition they say many grand things, not knowing what they say."

Page 276. *Conjectures on Original Composition, 2d ed., London, 1759, pp. 26 f., 36 f., 45.

Page 276. †See J. F. Nisbet, Insanity of Genius, 1891; Sir Francis Galton, Hereditary Genius, new ed. 1892; C. Lombroso, Man of Genius, Eng. trans., 1891.

Page 277. *Was it only a fashion of speech that made Byron say of Rousseau, whose work he counted a prelude to the French Revolution:

From him came

As from the Pythian's mystic cave of yore,
Those oracles which set the world in flame?

(Childe Harold, 3, 81.)

Page 278. *Joseph Warton (in the Enthusiast) represents Fair Fancy as finding Shakespeare on the banks of the Avon and bearing "the smiling babe " to a close cavern, where she soothed his wondering ears with songs.

Still the shepherds show

The sacred place, whence with religious awe
They hear, returning from the field at eve,

Strange whisperings of sweet music through the air.

Page 278. †Richard of St. Victor, whom Dante puts among the glowing souls of the great doctors and theologians in the fourth Heaven and describes as "in contemplation more than man," shows in his De Gratia Contemplationis how the soul passes upward through various steps of contemplation until "it contemplates what is above reason, and seems to be beside reason, or even contrary to reason." He teaches

that "there are three qualities of contemplation according to its intensity: mentis dilatio, an enlargement of the soul's vision without exceeding the bounds of human activity; mentis sublevatio, elevation of mind, in which the intellect, divinely illumined, transcends the measure of humanity, and beholds the things above itself, but does not entirely lose self-consciousness; and mentis alienatio, or ecstasy, in which all memory of the present leaves the mind, and it passes into a state of divine transfiguration, in which the soul gazes upon truth without any veils of creatures, not in a mirror darkly, but in its pure simplicity" (The Cell of Self-Knowledge, ed. Edmund G. Gardner, 1910, p. xiii). Page 279. *Ars Poetica, 296.

Page 279. †Lectures on Poetry, I, 55 ff.

Page 280. *Tale of Taliessin, in Nutt's edition of the Mabinogion, pp. 306-613; cf. Voyage, II, 84 ff.

Page 282. *Latin Epistle to Diodati, Elegy VI.

Page 282. " To feel of a sudden," says Mr. Stewart, “that there is surely an eternal world behind, or within, the temporal world of particular items, is to experience the κάθαρσις which Poetry one among other agencies effects in us."

"The Soul of Poetry is apprehended in its Body at the moment when we awake from the 'Poet's Dream,' and on a sudden see the passing figures and events of his interesting story arrested in their temporal flight, like the 'brede of marble men and maidens' on the Grecian Urn, and standing still, sub specie aeternitatis, as emblems - of what? of Eternal Verities, the purport of which we cannot now recall; but we know that they are valid, and are laid up in that other world from which we are newly returned ' (Myths of Plato, pp. 388, 385).

Page 283. *Julian and Maddalo, 11. 544–546.

Page 284. *Preserved in the Book of Leinster; ed. and transl. Whitley Stokes, Revue Celtique, XXVI, 4 ff.; Eleanor Hull, The Poem-Book of the Gael, 1913, pp. 53 ff.

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