The localised advantage may be irresistible in its appeal; the personality will not surrender it, no matter what, of greater worth is forgone for its sake, or what possibilities passing by are lost, unglimpsed in the enthralment. [61] 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_. [62] 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. [63] _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. [64] 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. [65] 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. [66] 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. CHAPTER XXV Badness in Poetry Il faut dissiper un malentendu: nous sommes pourris d’art! _Le Corbusier-Saugnier_.