112 ANALYSIS AND CRITICISM 



its importance by one of the most unequivocal signs, the appearance of thinkers 

 who attempt a compromise or juste milieu between it and its opposite. The acute 

 critic and metaphysician M. Taine, and the distinguished chemist M. 

 Berthelot, are the authors of the two most conspicuous of these attempts.' 

 {Auguste Comte and Positivism^ pp. 2-3.) 



12 Spitzer, op. cit., Note 50, p. 283. 



13 Ibid., Note 49, pp. 282-283. 



14 Ibid., pp. 213-216. 



15 Ibid., p. 223. 



16 In A Tour Through the Pyrenees, Book II, on 'The Valley of Ossau', illus- 

 trates this method especially well (see Chapters IV-VI, 'Landscapes', 'Eaux- 

 Chaudes', 'The Inhabitants'). 



17 Literature and Society, Chapters V and VI. 



18 History of English Literature, 'Book I. — The Source.' 

 ^^ Ibid., pp. 81-82. 



20 For example, towards the close of the fifteenth century, 'The monarchy, 

 in England as throughout Europe, establishes peace in the community, and 

 with peace appear the useful arts' {ibid., p. 162). 



21 Voyage in Italy, I, p. 88. References are to the single-volume 3rd edition 

 in English. 



22 Volume II, Book I, Chapter IV. 



23 Ibid., p. 30, our italics. 



24 JVouveaux Essais, p. 5 1 . 



25 Voyage in Italy, II, Book III, Chapter II, especially p. iii. 



26 Section II of Part II of The Philosophy of Art ('On the Production of the 

 Work of Art') contains a 'General exposition of the action of social mediums' 

 [Lectures, First Series, p. 18). 



27 La psychologic des individus et des societes chez Taine historien des litter atures : 

 'Taine was an innovator. That is a great, a very great praise. . . . Others come 

 after him, who, more easily and with less merit, nevertheless advance more 

 directly and go further' [pp. i-ii, S. J. K.]. 



28 Ibid., p. 209, S. J. K. 

 29/^^W.,p. 371, S.J. K. 



30 op. cit., p. 43. 



31 Ibid., p. 44. 



32 Lectures, Second Series, p. 471. Does not Taine perhaps mean that we 

 know a great deal about Greek life from its art? 



33 Lectures, First Series, p. 95. 



34 Ibid., p. 104, our italics. 



35 Rene Konig, Die Naturalistische Asthetik in Frankreich, distinguishes between 

 Naturalism and Romanticism on this basis: whereas the Romantics asserted 

 man's rebellion against society, the Naturalists were more deterministic and 

 pessimistic in their acceptance of social pressure as a fact of nature (Note 60, 

 p. 90). See also his excellent 'Exkurs Uber das Problem der Milieukreise' 

 (pp. 101-107). 



36 Spitzer, op. cit., pp. 232-233. 



37 Ibid., p. 234. 



38 Webster's Mw International Dictionary (1931). 



39 'The Meaning of Taine's Moment', p. 278. 



