Page:Notes and Queries - Series 12 - Volume 8.djvu/357

 12 a vra. APBIL 9, 1921.] NOTES AND QUERIES. 291 imitation but reality and accompanies the perceptions, so he ends by establishing a simulated tears of the other with its own genuine poet ical criterion built on that original fei^3ftSiJ&*.E^^ F* o sense F if this *? The finest work will lie in the direction ^^^S^^^e^T5^S" of union of fancy and intellect : intellect ^ m dominates always but in many cases it 50 years later looks forward so far true.t Thus imagination can create a' c Qu] world of its own into which intellect does not necessarily enter or only as a servant of imagination : at other times intellect I THE TRAVELLERS' CLUB DEPICTED BY AN may be fused in imagination and produce QLD FRENCH MEMBER. ' Les Amities de something which is neither pure intellect Lamartine, ' by Louis Seche (Paris, Mercure nor pure imagination. Pallavicino gives to ^ e France, 1911) contains probably the intellect the functions of creative imagination, earliest account of a French member of the but does not define exactly what part imagina- famous London club. It is in a letter tion as different from pure intellect plays written by Louis de Vignet, and is dated in the origin of those functions. With this we London, April, 1822 : enter directly into aesthetic, even our modern LI A' i ,-, .,1 -r n ... , i ' Ouand ie ne sais ou donner de la tete, u Aesthetic, and in this the Pallavicinian theory g a ! j heures du soir, je vais au club des Travellers must have an important historical position, (voyageurs) compost de tout ce qu'il y a de plus ^Pallavicino gives a summary of the effect distingue a Londres et en Angleterre. of poetry and its definition which must be une belle bibliotheque, trois sakmsj" held as of lasting importance in the solution ^JeS^mi ten Sxceflent, des biflards, des cartes of the difficult problem of the nature and <j u ca f, niille manieres de faire un mauvais diner definition of literary inspiration. | pour 12 francs, etc. Je n'y dine pas, comme tu "The Poet does not represent things as they Penses, j'y joue encore moins, ~ are in reality and according to the dictate of I ment, _ 36 lve mon chapeau Reason, which shows us that neither death nor any other accident of fortune is a great evil worthy of sorrow and lament ; but represents them as they appear to the irrational or animal part in us. dire de mauvaise grace et comme si on me I'arrachait, et apres avoir lu anglais, 1'un ^ MinisUre 'autre de ayec le Journal des Debats, et. I say also that imitation bv means diatribe du Constitutionl, ]e me leve et, , . -of images does not mean creation of another nant mes deux mams dernere mon dos, 3 e me individual of the same species. For the image promene a pas lents sur un beau tapis, et a pre and the idea are things for the most part different une heure de ce doux exercice, 3 e .f *{*J^ d in themselves. Imitation then means production une grande bergere, et apres avoi with one's own work of some sensual effects( and coussnis sous ma tete, et un sous chacm especially the most striking) found onlv in the bras, 3 e balance ma 3 ambe droite sur i on gei thing imitated. Hence, if it happens that those gauche, ne me decidant a mettre la gauch same effects are met elsewhere, the v suddenly la droite que dans lesgrandes .occasions; lorsque mes awake in imagination the memory of the original reflexions sur 1'avemr pohtique des peuples, o and the properties remarked in it. In this way, mes regrets sur mes amis me for example, the colour of that rose I see in the de coutume, comme il faut en finir de distance, makes me think of the perfume I do de tout le reste, 3 e me leve avec un grand effoit not feel just now but have felt at other times je jette mon chapeau sur ma tete, mon mante. when an object of like colour has been close to sur mes epaules, et 3 e reviens au logis, a trave my nostrils.... For the art of poetry is none de longues rues peuplees de voitures (qui a onze other than a kind of imitation ; and it does not heures du soir partent ou arrivent cornme i etait midi). Louis de Vignet was born at Chambery produce other properties of the object imitated than that of awakening in the mind the image of that object just as the object, when actually m 17 g9 an( j m ^ entered the diplomatic service of the Kingdom of Sardinia. In the He thus adopts the methods of psychology following year he was secretary of the m order to penetrate to the real function Le gation in London, and his most intimate of poetry, and just as he began with sense friend here was Chateaubriand, then French Ambassador in England. Louis de Vignet 's Bother Xavier married one of the sisters 'Del Bene,' p. 219. of Lamartine, who himself selected an