By Bruce Ingham
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See FT2, ‘Three Methods of Approach: Philological, Functional, Psychological’, fo. 29. 38 smallwood: the re-enactment of self xxxv 1928),39 they appear more substantially concerned with the material of the tales as a means to the ulterior purposes of historical study. Oral narratives are seen as an integral part of primitive civilization in its relationship to the world of modern ritual and of mind. Here Collingwood’s central topic, when the various prior disciplinary frameworks are taken away, can be regarded as the modern historical and anthropological mind which surveys and examines the tales.
And whereas the tenet that ‘all history is a history of thought’ has led to the conclusion that Collingwood wished to exclude emotion, the dictum appears in a significantly different form in chapter 1 of the folktale essays. ’61 In the movement from ‘thought’ to ‘experience’ (as potentially including emotion) the subject matter of history has opened up. Collingwood’s chapters on folktale thus analyse in ways ultimately consistent with the translational literary modernisms of Eliot and Pound—these joined to the urgent call for a restoration of the emotional life in both Eliot and Lawrence62—the nature of continuity and change in the historical and cultural transmission of the 60 61 FT4, fo.
26 Here and elsewhere, the distinctive literary expressiveness of the folktale essays reinforces the sense that Collingwood is tapping into English traditions of satirical polemic and is composing philosophy in a tradition informed by the resources of literary and literary-critical language. ) Much of Collingwood’s philosophical purpose is conveyed by the largeness of his canvas and by this audacity of tone—the irony, for example, he employs to deal with Carl Jung’s historically ignorant and pretentious attempt to analyse folktales as the dreams of a people.