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pressie van de aller-individueelste emotie moet zijn" — to portions (unspecified) of "The Defence of Poetry , or to ideas not at all obviously discoverable there. Conversely, it does not seem very helpful merely to hurl at the reader Shelley's remark that poetry, in a general sense, may be defined to be the expression of the imagination, and poetry is connate with the origin of man. Man is an instrument over which a series of external and internal impressions are driven ..." and bluntly announce that in hierdie laatste lê tog al implisiet opgeslote wat Kloos konkludeer". 1 To permit such extreme latitude as instanced here is surely to reduce supposedly critical scholarship perilously near to absurdity.

Against these methods I do not mean that we should never generalise or go out after some system of definite parallelism. Such parallelism, as it happens, can be found easily enough. Some instances might even be said to be somewhat notorious. For example, Kloos almost lends himself to the charge of plagiarism by following so exactly the arguments used by Shelley in dealing with the sensations of the child and the emotions of a savage. Again, where Shelley rounds off a passage on the separation of images by saying that "these similitudes or relations are finely said by Lord Bacon to be the same footsteps of nature impressed upon the various subjects of the world," Kloos without due discrimination paraphrases: "Iedere beeldende uitdrukking zou men moeten vasthouden door hare verschillende phasen en wijzigingen heen, en den draad der associatie nasporen, waarmede de eene zich aan de andere reit; want behalve dat wij dan de vreugde smaakten, de menschheid te zien in haar volgen en tasten, naar wat Bacon 'dezelfde voetstappen der natuur, gedrukt op de verschillende verschijnselen dezer wereld' noemt..." 2 Where Kloos undoubtedly shows himself most in line with the thought of Shelley is in his acquiescence, via Leigh Hunt, with

1 Op. cit., p. 114.

2 "Veertien Jaar Literatuur-Geschiedenis," Vol. I, p. 2.