138 ANALYSIS AND CRITICISM 



he consciously makes the transition from the process of analysis 

 (the categories of which have been outHned in Chapters III 

 through IX) to the process of judgment, by way of a meta- 

 physical position. The Master Faculty concept is a specific 

 example of a philosophical doctrine of natural types; therefore, 

 before we can attempt to answer any of the above questions, and 

 evaluate the bases of critical judgment in Taine's system, we must 

 examine some of the more general issues raised by type analysis. 



NOTES 



1 Irving Howe, 'Edmund Wilson: A Reexamination', The Nation, 16 October, 



1948, p. 431. 



2 Cf. our Chapter I, 'The Problem in our Century'. 



3 Cf. Mr. Brooks' essay, cited above, 'Preface'. 



4 Cf. the 'Foreword' by Mr. Brooks to R. W. Stallman, editor. Critiques and 

 Essays in Criticism, 1920- 1948, pp. xv-xvi. 



5 Op. cit., p. vi, our italics. 



6 Ibid., p. 65. 



"7 Chapter VI, 'Conditions for Production of Art'. 



8 Chapter IV, 'Taine Replies to Critics . . .'. 



9 See Meyer Schapiro, 'Fromentin as a Critic'. 



10 For example, in La Fontaine, the chapter 'De I'expression'; in Livy, 

 Chapter IV, Part Two; and so forth. 



11 For a recent discussion of this issue, see Richard Rudner, 'The Onto- 

 logical Status of the Esthetic Object'. My own position, incorporating material 

 from this book, has been more fully stated in Sholom J. Kahn, 'What Does a 

 Critic Analyze?' 



12 Wellek and Warren, op. cit., p. 151. 



13 Ibid., p. 157-158. 



14 Ibid., p. 154. 



15 'The Sentiment of Rationality', in Collected Essays and Reviews, p. 1 12. 



16 A critical study which stresses the centrality of Taine's psychology, and 

 his attempt at theoretical unity, is A. Laborde-Milaa's Hippolyte Taine: Essai 

 d^une biographic intellectuelle, Paris, 1909. See especially Chapter II, 'La Concilia- 

 tion theorique. La Methode'. 



1'^ On Intelligence, II, pp. 261-262. Cf. Hamlet's speech concerning 'the pur- 

 pose of playing, whose end, both at the first and now, was and is, to hold, as 

 'twere, the mirror up to nature; to show virtue her own feature, scorn her own 

 image, and the very age and body of the time his form and pressure' (Act III, 

 Scene 2). 



18 Wellek and Warren, op. cit., p. 79. 



19 Chapter VIII, 'Environment'. 



20 Thus, though there is a good deal of the Classic about Taine's doctrine 

 we must not overlook the Romantic elements in his makeup (Chapter IV, 

 'Abstraction as Weakness') : his interest in psychology made him aware of the 



