. . .In the "Symphonies," which form the second part of this volume, I have gone a step further. My aim in writing these was, from the beginning, to narrate certain important phases of the emotional and intellectual development—in short, the life—of an artist, not necessarily myself, but of that sort of artist with which I might find myself most in sympathy. And here, not being restrained by any definite material phenomena, as in the Old House, I have tried to state each phase in the terms of a certain colour, or combination of colours, which is emotionally akin to that phase. This colour, and the imaginative phantasmagoria of landscape which it evokes, thereby creates, in a definite and tangible form, the dominant mood of each poem.

The emotional relations that exist between form, colour, and sound have been little investigated. It is perfectly true that certain colours affect certain temperaments differently. But it is also true that there is a science o. . . Read More