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1. ' L i t e r a t u r e is e s s e n t i a l l y a personal work.. . . . it i s t h e expression of t h a t one person 's i e a

and f e e l i n g s - ideas a n d f e e l i n g s personal t o

h imsel f . . . . . . . In o t h e r words, l i t e r a t u r e

expresses , not ob j ec t i ve t r u t h , as it is ca l led ,

b u t sub jec t ive , no t t h i n g s but thoughts '.

John Qble - Juoted by M.H. Abrarns in The Mirror

And The Lamp. p. 244.

2. 'Each poem, e s p e c i a l l y a great and complete poem,

a work of t h e s o u l and of l i f e , i s a dangerous

b e t r a y e r of i t s a u t h o r and o f ten when he bel ieves

t h a t he i s be t r ay ing himself least ' . J . G . Herder - Guoted by M.H. Abrams i n The Mirror

And The lamp. p. 236.

3 . 'Metaphor is t h e unique express ion of a w r i t e r ' s

i n d i v i d u a l v i s ion '. Middleton MUrW - The Problem of S ty l e . p.13.

4. 'The poet unwil l ingly l a y s ba re h i s own innermost

l i k e s and d i s l i k e s o b s e m a t i o n s and interests,

a s s o c i a t i o n s of thought, a t t i t u d e s of mind and

b e l i e f s in and through t h e images, t h e verbal p i c t u r e s he draws t o i l l umina t e something q u i t e

d i f f e r e n t in t h e speech and thought of h i s

c h a r a c t e r s I.

Carol ine . F .Em Spurge on - Shake s p a r e 's

Imagery b d m a t It T e l l s Us. p.4.

5. 'By examination Of linagery and r epea t ed

symbolism we can f i n d out what emotional

a s s o c i a t i o n s a w r i t e r has with c e r t a i n

elements i n h i s work, and could q u i t e

reasonably proceed with t h e a n a l y t i c process,

f a i r l y conf iden t ly and wi th ou t danger of

p r o j e c t i n g our own a t t i t u d e s ' .

Graham Hough - Image And E x p r i e n c e . p. 119.

8. 'You might say i f you wished that t h e *ole of t h e romantic a t t i t u d e s seems t o c r y s t a l i s e inverse

round metaphors of flight ' T.E. Hulme - Specula t ions . p. 120.

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19. ' H i s f e e t s a r e f i rmly se t up on ' t h i s goodly

frame, t h e ear th : h i s eyes a r e focused on the

d a i l y l i f e around him, and he misses no t i n y

d e t a i l of a b i r d ' s f l i g h t , a f l o w e r ' s growth,

a house w i f e ' s t a sk , o r t h e emotions wr i t t en

on a human face . So is it t h a t h i s g r e a t e s t

and most moving a s well a s most v i v i d poetry,

is o f t e n e x p ~ s s e d by means of , t h e s imples t

and hcmel ies t metaphor'.

Caro1ine.F .E. Spurgeon - Shakespeare 's

Imagery And What It T e l l s U s . p.15.

2 1 . 2 - maalan+ ( I ) &bdwnIflacol, wAOo. 5 4 .

27. 'To i d e n t i f y form with substance - t h a t i s p rec i s e ly

t h e r anan t i c revolut ion . . . . . . . . . . . . . . . Form emerges

spontaneously fran t h e p c e t ' s i n t u i t i v e apprehension

of t h e thought: o r if he is a p a i n t e r fran h i s

p l a s t i c r e a l i z a t i o n of t h e image pre sen t t o his

mind '.

Herbert &ad - The Tenth Muse. p.163.

28. 'The language there i s romantic, b u t t h e cons t ruc t ion

is s t i l l c l a s s i c a l '. C. Day Lewis - The Poe t i c Image. p.59.

3 2 . 'The anima i s a f a c t o r of t he outmost importance

i n t h e psychology of a man wherever emotions and

e f f e c t s a r e a t work. She i n t e n s i f i e s , exaggerates,

f a l s i f i e s and mythologizes a l l emotional r e l a t i o n s

w i t h h i s work and wi th o t h e r people of both sexes.

C.G. J u n g - The Archetypes And t h e Col lec t ive

Unconscious: t r a n s l a t e d by R.F .C. Hul l . p. 70.

33. ' a n h a i s t h e archetype of l i fe i t s e l f * i b id . p. 66.

3 7 . * Fur ther , it has a l s o been observed t h a t even t h e

same ind iv idua l may scmetimes behave like an

e x t r o v e r t and a t o t h e r times like an i n t r o v e r t

depending upon t h e environment and t h e s t imulus '.

G.D. Boaz - General Psychology. p. 402.

38. 'I do no t deny t h a t humanism of this kind has a c e r t a i n a t t r a c t i o n . But it deserves no admiration

f o r it b e a r s i n i t s e l f t h e seed which Is bound

i n e v i t a b l y l a t e r t o develop in t o sen t imenta l

u t i l i t a r i a n romanticism '.

T . E . Hulme - Speculations. p.62.