hiefly literary and incidentally scientific. As Langer puts it, "The artist's work is the making of the emotive symbol; this making involves varying degrees of craftsmanship, or technique . . . Because every artist must master his craft in his own way, for his own purposes of symbolizing ideas of subjective reality, there may be poor art . . . and to be confronted with a wrong symbol can undo an inward vision . . . sincere enough, but confused and frustrated by recalcitrance of the medium of sheer lack of technical freedom (Langer, Feeling, 1953, pp. 387-8).
Aldous Huxley dealt with the encounter of literature and science throughout his life. In the year of his death he published what amounted to a valedictory on the confluence of science, literature, and the metaphysical or poetical sensibility:
The hypotheses of modern science treat of a reality far subtler and more complex than the merely abstract, verbal world of theological and metaphysical notions. And, although a determinant of human nature and human behavior, this reality is nonhuman, essentially undram
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