[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. [147] Michelet, _La Sorcière_, p. 80. [148] Cf. for example, Dyer, _Gods in Greece_, pp. 114-117. [149] Cf. Brown, _The Fine Arts_, pp. 22-35, 41-70; and Hill in _Pop. Sc. Monthly_, vol. xlii. pp. 734-749. [150] Rapp, _Rheinisches Museum_, xxvii. p. 2 (“Die Mänade im griechischen Cultus”). [151] Rohde, _Psyche_, pp. 331, 343. [152] Nietzsche, _Die Geburt der Tragödie_, pp. 6, 7. [153] A detailed treatment of gracefulness in art and life has been given by the author in _Förstudier till en konstfilosofi_, pp. 132-147. [154] Cf. Holz, _Die Kunst_, p. 117. It is only fair to add that in their own novels the authors of this school have involuntarily failed to support their theoretical principles. [155] Cf. chap. i. [156] Cf. Taine, _Philosophie de l’art_, pp. 72, 73. [157] _Ibid._ pp. 52, 53. [158] Hemsterhuis, _Œuvres_, i. pp. 14-18, 24, 66 (Lettre sur la sculpture, Lettre sur les désirs). A similar thought was applied by Poe to the fundamental principles in poetic composition and has exercised a great influence on recent literary movements. Cf. Poe, _Works_, vi. pp. 3-6 (The poetic principle). For a further elaboration of this notion cf. Bourget, _Études et portraits_, i. pp. 225, 226; Hansson, _Kåserier i mystik_, pp. 140, 141; Symons, _The Symbolist Movement_, p. 137 (Stéphane Mallarmé). [159] Carlyle, _Sartor Resartus_, p. 180. [160] Wagner, _Ges. Schriften_, iv. p. 39 (Oper und Drama). [161] Cf. chap. ii. in the preceding. [162] Cf. the quotations adduced by Harnack, _Die klassische Ästhetik_, pp. 124, 143, 161, 164, 165. Cf. also von Stein, _Goethe und Schiller, Ästhetik der deutschen Klassiker_, pp. 25, 27. [163] Taine, _De l’idéal dans l’art_, pp. 19, 50, 130, 175. [164] For an interesting comparison between French and English ideals of art, compare the aphorisms of Mr. Quilter in _Sententiæ Artis_, pp. 7, 121, with the views of Taine, as expressed, for example, in _L’idéal dans l’art_, p. 148. [165] Cf. Ruskin, _Modern Painters_, 1, i. ii. § 8; iii. iv. 3, §§ 21, 24, 28.