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Notes
1 The Metaphysical Poets (1921), included in Selected Essays (London 1932), 281–91.
2The idea of the “dissociation of sensibility” has recently been criticized by Professor Frank Kermode in his book Romantic Image (London 1957), 138–61, where he describes it as “an attempt to project upon the history of poetry a modern theory of the image … a characteristic Symbolist historical myth”.
1 Elizabethan and Metaphysical Imagery (Chicago 1947).
2On this, and related matters, see my previous article: “A Note on Metaphor and Conceit in the Siglo de Oro,” BHS, XXXI (1954), 91–97.
1All Quevedo references are to Obras en verso, ed. L. Astrana Marín (Madrid 1932).
1 “On Metaphysical Poetry”, Scrutiny, II, 3 (Dec, 1933), 222–39; reprinted in Determinations, ed. F. R. Leavis (London 1934).
1 Estudios dedicados a Menéndez Pidal, III (Madrid 1952), 351–53. I reproduce Professor Parker's punctuation of the final tercet (see his note to p. 351).
1This is discussed at length by Mr. T. E. May, in his article, “Gracián's Idea of the Con cepto”, HR, XVIII (1950), 15–41, to which I am much indebted. See especially p. 19.
2Thus, in the traditional divisions of philosophy, the relation of soul to body comes under the Philosophy of Nature (i.e. Physics), in the subdivision, Psychology.
1Cf. Otis H. Green, Courtly Love in Quevedo (University of Colorado Studies in Language and Literature no. 3, 1952), 67, n. 361. M. Amédée Mas, in his recent book, La caricature de la femme, du mariage et de l'amour dans l'oeuvre de Quevedo (Paris 1957), has pointed to further parallels between this and other poems by Quevedo. His treatment of the questions raised by such relationships is important, though it falls outside the limits of the present discussion.
2 Materia y forma en poesía (Madrid 1955), 127.
1S. L. Bethell, “Gracián, Tesauro and the Nature of Metaphysical Wit”, Northern Miscellany of Literary Criticism, I (1953). 19–40. The passage quoted occurs on pp. 34–35. Mr. Bethell's article gives an excellent account of the main outlines of Tesauro's theory.
2For a good discussion of this point, see T. E. May, “An Interpretation of Gracián's Agudeza y Arte de Ingenio”, HR, XVI (1948), 278.
3 Cf. the famous compass conceit in Donne's A Valediction. Forbidding Mourning. There are similar examples in Quevedo, for instance the sonnet “Con acorde concento, o sin ruidos” (412b-413a), analysed by Professor Parker, loc. cit., pp. 355–57.
1I should like to express my gratitude to Professor A. A. Parker for reading this article in manuscript and for making a number of helpful comments.