APPENDIX 
n. "GLORY TO GOD": A DREAM POEM 
1. One could imagine nothing more delightful than the voyage from Odessa to Genoa in winter, with brief but entrancing landings at Constantinople, Smyrna, Athens, at the ports of Sicily and the west coast of Italy .... One must be a philistine indeed, devoid of any aesthetic feeling, not to be carried away with admiration by the glory of the Bosporus, or not to respond with all one's soul to the remembrance of the past in Athens. ... That was the voyage on which I was privileged to go at the age of twenty, with my family, in 18g8. 
After the long and rough voyage from New York to Stockholm, then to St. Petersburg and Odessa, it was a real pleasure [une veritable volupti] to leave the world of cities, of roaring streets, of business-in short, of the earth-and enter the world of waves, sky, and silence .... I spent hours on end on the deck of the ship, dreaming, stretched out in a deck chair. All the histories, legends, and myths of the different countries I saw in the distance came back to me confusedly, dissolved in a kind of luminous mist in which real things seemed to lose their being,. while dreams and ideas took on the aspect of the only true reality. At first I even avoided all company and kept to myself, lost in my reveries, where everything I had ever known that was truly great, beautiful, and good came back to mind with renewed life and vigour. I also spent a good part of my days writing to absent friends, reading, or scribbling little bits of poetry in remembrance of the various places we visited. Some of these poems were of a rather serious character. But as the voyage drew near its end, the ship's officers outdid themselves in kindness and amiability [se montrerent tout ce qu'il y a de plus empresses et aimables], and I passed many an amusing hour teaching them English. 
Off the coast of Sicily, in the port of Catania, I wrote a seachanty, which, however, was little more than an adaptation of a well-known song about the sea, wine, and love ("Brine, wine and damsels fine" 2). The Italians are all good singers, as a rule; and one of the officers, singing at night as he stood watch on 2 [In English.] 
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THE MILLER F ANT ASIES 
deck, had made a great impression on me and had given me the idea of writing some words that could be fitted to his melody. 
Soon afterwards, I nearly did as the old proverb says, "See Naples and die," for in the port of Naples I began by being very ill (though not dangerously so); then I recovered sufficiently to go ashore and visit the principal sights of the city in a carriage. This outing tired me extremely; and as we were intending to visit Pisa the next day, I soon returned on board and went to bed early, without thinking of anything more serious than the good looks of the officers and the ugliness of Italian beggars. 
2. From Naples to Leghorn is one night by boat, during which I slept moderately well-my sleep is rarely deep or dreamless-and it seemed to me that my mother's voice woke me up just at the end of the following dream, which must, therefore, have taken place immediately before waking. 
First, I was vaguely conscious of the words "when the morning stars sang together," 3 which served as the prelude, if I may so put it, to an involved idea of creation and to mighty chorales reverberating through the universe. But, with the confusion and strange contradiction characteristic of dreams, all this was mixed up with choruses from oratorios given by one of the leading musical societies of New York, and with indistinct memories of Milton's Paradise Lost. Then, slowly, out of this medley, words appeared, and a little later they arranged themselves in three stanzas, in my handwriting, on a sheet of ordinary blue-lined writing-paper, in a page of myoId poetry album that I always carry about with me: in short, they appeared to me exactly as they did in reality, a few minutes later, in my book. 
That was the moment when my mother called to me: "Now then, wake up! You can't sleep all day and see Pisa too!" This made me jump down from my bunk, crying out, "Don't speak to me! Not a word! I've just had the most beautiful dream in my life, a real poem! I have seen and heard the words, the verses, even the refrain. Where is my notebook? I must write it down at once before I forget any of it."-My mother, quite accustomed to see me writing at all hours, took my whim in good part and even admired my dream, which I told her as quickly as I could put it into sentences. It took me some minutes to find my notebook and a pencil and slip on a garment; but, short 3 [In English.] 
451 

452 
APPENDIX 
though it was, this delay was enough for my immediate recollection of the dream to have begun to fade a little; so that, when I was ready to write, the words had lost something of their clearness. However, the first verse came easily enough; the second was harder to recollect, and it cost me a great effort to re-memorize the last, distracted as I was by the feeling that I cut a rather ridiculous figure, perched on the upper bunk of the cabin, and scribbling away, half-dressed, while my mother made fun of me. Thus, the first version left something to be desired. My duties as a guide absorbed me after this, until the end of our long voyage; and it was not until some months later, when I was installed at Lausanne for my studies, that the thought of this dream came back to haunt me in the calm of loneliness. Then I produced a second version of my poem, more exact than the first, I mean much closer to the original dream. I give it here in both forms. 
FIRST VERSION 4 
When God had first made Sound, A myriad ears sprang into being And throughout all the Universe Rolled a mighty echo: 
"Glory to the God of Sound!" 
When beauty (light) first was 
given by God, 
A myriad eyes sprang out to see And hearing ears and seeing eyes Again gave forth that mighty 
song: 
"Glory to the God of Beauty 
(Light)!" 
When God has first given Love, A myriad hearts lept up; 
And ears full of music, eyes all full of Beauty, 
Hearts all full of love sang: 
"Glory to the God of Love!" 
4 [Both versions in English.] 

SECOND VERSION (more exact) 4 When the Eternal first made Sound 
A myriad ears sprang out to hear, 
And throughout all the Universe There rolled an echo deep and clear: 
"All glory to the God of Sound!" 
When the Eternal first made Light, 
A myriad eyes sprang out to 
look, 
And hearing ears and seeing eyes, Once more a mighty choral took: 
"All glory to the God of Light!" 
When the Eternal first gave 
Love, 
A myriad hearts sprang into life; Ears filled with music, eyes with light, 
Pealed forth with hearts with love all rife: 
"All glory to the God of Love!" 

THE MILLER FANTASIES 
3. Never having been an adept in spiritualism or the contranatural (which I distinguish from the supernatural), I set to work, some months afterwards, trying to find out the probable causes and the necessary conditions for such a dream. 
What struck me most, and still seems to me like an unexplained fantasy, is that, contrary to the Mosaic account, in which I had always believed, my poem put the creation of light in the second place instead of the first. It may be of interest to recall that Anaxagoras, too, makes the cosmos arise out of chaos by means of a whirlwind-which does not normally occur without producing a noise. But at that time I had not yet made a study of philosophy and I knew nothing either of Anaxagoras or of his theories about the vovs which I found I had been unconsciously following. I was in equally complete ignorance of the name of Leibniz and consequently of his doctrine "dum Deus calculat fit mundus." But let us come to what I have discovered concerning the probable sources of my dream. 
In the first place, there is Milton's Paradise Lost) of which we had a fine edition at home, illustrated by Gustave Dore, and which I have known well since childhood. Then the Book of J ob, which has been read aloud to me ever since I can remember. Now, if you compare my first line with the first words of Paradise Lost) you find it is in the same metre (v - / v - / v - / v-): 
Of man's first disobedience ... When the Eternal first made sound. 
Moreover, the general idea of my poem is slightly reminiscent of various passages in Job, and also of one or two places in Handel's oratorio The Creation 5 (which appeared in the confusion at the beginning of the dream). 
I remember that, at the age of fifteen, I was very much excited by an article my mother had read to me, about "the Idea spontaneously creating its own object," and I passed almost the whole night without sleep, wondering what it could all mean.From the age of nine to sixteen, I used to go on Sundays to a Presbyterian church, where the pastor was a highly cultivated man, now president of a well-known college. And in one of the 
5 [Probably Haydn's Creation is meant.-c. G. J.] 
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APPENDIX 
earliest memories I have of him, I see myself, still quite a little girl, sitting in our large pew in church and struggling to keep myself awake, without being able to understand what in the world he meant when he spoke to us of "Chaos," "Cosmos," and "the Gift of Love." 
With regard to dreams, I recollect that once, at the age of fifteen, while I was preparing for an examination in geometry, and had gone to bed without being able to solve a problem, I awoke in the middle of the night, sat up in bed, repeated to myself a formula that I had just discovered in a dream, and then went to sleep again, and in the morning everything had become clear in my mind.-Something very similar happened to me with a Latin word I was trying to remember.-I have also dreamed, many times, that friends far away have written to me, and this just before the actual arrival of letters from them; the explanation of which is, very simply, that while I was asleep I calculated approximately the time they would be likely to write to me, and that the idea of the letter's actual arrival was substituted, in the dream, for the expectation of its probable arrival. I draw this conclusion from the fact that I have several times had dreams of receiving letters that were not followed by their arrival. 
To sum up, when I reflect upon the foregoing, and upon the fact that I had just composed a number of poems at the time of this dream, the dream does not seem to me so extraordinary as it did at first. It seems to me to result from a mixture in my mind of Paradise Lost} Job} and The Creation} with notions like the "Idea spontaneously creating its own object," the "Gift of Love," "Chaos," and "Cosmos." Just as the little bits of coloured glass in a kaleidoscope form marvellous and rare patterns, so, in my opinion, the fragments of philosophy, aesthetics, and religion in my mind were blended together-under the stimulation of the voyage and of countries fleetingly seen, coupled with the vast silence and impalpable charm of the seato produce this beautiful dream. There was only this and nothing more. [Ce ne fut que cela et rien de plus.] "Only this and nothing more!" 6 
6 [Quoted in English, preceded by the French.] 
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THE MILLER FANTASIES 
Ill. "THE MOTH AND THE SUN": A HYPNAGOGIC POEM 
The day before I left Geneva for Paris had been extremely exhausting. I had made an excursion up the Saleve, and on my return I found a telegram that obliged me to pack my bags, settle my affairs, and depart within the space of two hours. My fatigue on the train was such that I hardly slept an hour. It was horribly hot in the ladies' compartment. Towards four o'clock I lifted my head from the bag that had served me for a pillow, sat up, and stretched my swollen limbs. A tiny butterfly, or moth, was fluttering towards the light that shone through the glass panel behind a curtain that was swinging with the motion of the train. I lay down and tried to sleep again, and almost succeeded; that is to say, I found myself as nearly asleep as possible without completely losing self-consciousness. It was then that the following piece of poetry suddenly came into my mind. It was impossible to drive it away in spite of my repeated efforts. I took a pencil and wrote it down straight away. 
The Moth to the Sun T 
I longed for thee when nrst I crawled to consciousness. My dreams were all of thee when in the chrysalis I lay. Oft myriads of my kind beat out their lives 
Against some feeble spark once caught from thee. 
And one hour more-and my poor life is gone; 
Yet my last effort, as my first desire, shall be 
But to approach thy glory: then, having gained 
One raptured glance, I'll die content, 
For I, the source of beauty, warmth and life Have in his perfect splendor once beheld! 
This little poem made a profound impression on me. I could not at first find a sufficiently clear and direct explanation of it. 7 [Title and poem in English.] Miss Miller has shown me her original draft, in pencil, written very irregularly on account of the movement of the train. It shows one or two crossings-out, or corrections of detail, in the same kind of scrawl as all the rest, which she had made immediately upon re-reading the piece as soon as it was completed. The only one that is noteworthy concerns the first line, which was first written as "I longed for thee when consciousness first woke"; th~ last three words are crossed out with a big stroke leading right down to the bottom of the page, where the variant is written-"first I crawled to consciousness."-T.F. 
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APPENDIX 
But a few days afterwards, having again taken up a philosophical article that I had read in Berlin the previous winter, which had delighted me extremely, and reading it aloud to a friend, I came upon these words: "The same passionate longing of the moth for the star, of man for God .... " I had completely forgotten them, but it seemed to me quite obvious that these were the words that had reappeared in my hypnagogic poem. Moreover, a play entitled The Moth and the Flame)8 which I saw a few years ago, also came back to me as another possible source of my poem. You see how often the word Moth has been impressed upon me!-I would add that, in the spring, I had been reading a selection of Byron's poems that pleased me greatly and that I often dipped into. Moreover, there is a great similarity of rhythm between my two last lines, "For I, the source, etc." and these two of Byron's: 
Now let me die as I have lived in faith 
Nor tremble tho' the Universe should quake! 
It is possible that my having so often read this book had an influence on me, and contributed towards my inspiration, as much from the point of view of meaning as of rhythmical form. 
8 [A comedy, in three acts, by the American playwright Clyde Fitch, produced in New York on Apr. 11, 18g8. The following synopsis of its plot (from a review in the New York Dramatic Mirror, Apr. 16, 18g8), is given here in extenso because of the interesting pertinence of its heroine's character and problems. 
"The Moth and the Flame begins at a children's party given by Mr. and Mrs. 
Wolton at their New York home. Their daughter, Marion, has rejected the love of Douglas Rhodes to become betrothed to Ned Fletcher, a man of somewhat shady record, whom she expects to reform. The children's party is at its merriest moment when a thud above and a clattering chandelier announce the suicide of the host in his room. Wolton, knowing Fletcher to be a swindler and dreading the disgrace that must befall by Marion's marriage to Fletcher, has killed himself. Yet the guests know not, and the fun goes on. Marion falters into the room after discovering the horrible thing, and falls into her mother's arms, sobbing out the awful truth while a dozen unsuspecting revelers dance and sing about the stricken women. The family are threatened with terrible distress, and Fletcher, as Marion's affianced lover, announces his purpose to stand by the Woltons. 
"The next act presents St. Hubert's Chapel, wherein is to occur the wedding of Fletcher and Marion, to which society has been invited by Mrs. Wolton. The ceremony is rudely interrupted by a woman who demands that Fletcher shall marry her and give his name to her child. Fletcher repudiates the woman's story, and Marion believes him. But the interloper persists and steps between the bridal couple. Then Fletcher fells her with a cruel blow. Marion, horrified, cries 
456 

THE MILLER F ANT ASIES 
Comparing this poem, which came to me in a half-waking dream-state, with, on the one hand, those written when wide awake and, on the other hand, the previous poem [Sec. 1I) above] that came when I was fast asleep, it seems to me that these three categories form a perfectly natural series. The intermediate state establishes a simple and easy transition between the two extremes, and thus dispels any suspicion of an intervention of the "occult" that one might have had about the poem I produced while asleep. 
IV. "CHIWANTOPEL": A HYPNAGOGIC DRAMA 
Borderland phenomena-or, if you prefer it, the productions of the brain in the half-dreaming state-are of particular interest to me, and I believe that a detailed and intelligent examination of them would do much to clear up the mystery of so-called "spirits" and dispel superstition concerning them. It is with this idea in mind that I am sending you an observation which, in the hands of someone less careful of the exact truth, or less scrupulous about indulging in embroideries or amplifications, might very well give rise to some fantastic romance that would outdo the fictitious ramblings of your mediums. I have rewritten the following observation as faithfully as possible from the notes I made immediately after the half-dream in question, and have limited myself to the insertion between brackets [ ] of one or two remarks and of letters referring to the explanatory notes that follow. 
Observation of I7 March) I902. Half an hour after midnight. 
Ist Phase.-After an evening of trouble and anxiety, I had gone to bed at half past eleven. I felt restless; unable to sleep 
'Coward!' and, flinging the wedding bouquet at his feet, rushes from the chapel. 
"In the last act, Fletcher seeks to frighten Marion into marrying him, telling her that her father had owed his respected position to the fact that his (Fletcher's) money had preserved the honor of the Wolton name in the world's eyes. But she rejects his advances and espouses the still faithful Rhodes. Fletcher, in contrition, vows to marry the woman he had scorned, and so ends the play."-EDITORS.] 
457 

APPENDIX 
although very tired. I had the impression of being in a receptive mood. There was no light in the room. I closed my eyes, and had the feeling of waiting for something that was about to happen. Then I felt a great relaxation come over me, and I remained as completely passive as possible. Lines, sparks, and spirals of fire passed before my eyes, symptoms of nervousness and ocular fatigue, followed by a kaleidoscopic and fragmentary review of recent trivial events. Then an impression that something was on the point of being communicated to me. It seemed as if these words were repeating themselves in me-"Speak, Lord, for thy servant heareth-Open thou mine ears." The head of a sphinx suddenly appeared in the field of vision, in an Egyptian setting: then it faded away. At that moment my parents called to me, and I immediately answered them in a perfectly coherent way, a proof that I was not asleep. 
2nd Phase.-Suddenly, the apparition of an Aztec, complete in every detail: hand open, with large fingers, head in profile, armoured, with a head-dress resembling the plumed crests of the American Indians, etc. The whole is somewhat suggestive of the carvings on Mexican monuments [note A ].8a_ The name "Chi-wan-to-pel" forms itself bit by bit, and it seems to belong to the previous personage, son of an Inca of Peru [note B].Then a swarm of people. Horses, a battle, the view of a dreamcity [note C).-A strange conifer with knotty branches, lateen sails in a bay of purple water, a perpendicular cliff. A confusion of sounds resembling Wa-ma, Wa-ma, etc. 
(A lacuna.)- The scene changes to a wood. Trees, undergrowth, bushes, etc. The figure of Chi-wan-to-pel comes up from the south, on horseback, wrapped in a blanket of bright colours, red, blue, and white. An Indian, dressed in buckskin, beaded and ornamented with feathers [note D], creeps forward stealthily, making ready to shoot an arrow at Chi-wan-to-pel, who bares his breas t to him in an atti tude of defiance [note E]; and the Indian, fascinated by this sight, slinks away and disappears into the forest. Chi-wan-to-pel sinks down upon a mound, leaves his horse to graze on the tether, and delivers himself of the following soliloquy, all in English: 9 "From the tip of the backbone of these continents [probably an allusion to the Andes and the Rocky Mountains], from the farthest lowlands, I have wandered 
	Sa [See p. 461.] 	9 [But given by Flournoy here in French.l 
458 

THE MILLER FANTASIES 
for a hundred moons since quitting my father's palace [note F], forever pursued by my mad desire to find 'her who will understand: With jewels I tempted many beautiful women; with kisses tried I to draw out the secrets of their hearts, with deeds of daring I won their admiration. [He reviews one after another the women he has known.] Chi-ta, the princess of my own race ... she was a fool, vain as a peacock, without a thought in her head except trinkets and perfumes. Ta-nan, the peasant girl ... bah! a perfect sow, nothing but a bust and a belly, thinking of nothing but pleasure. And then Ki-ma, the priestess, a mere parrot, repeating the empty phrases learnt from the priests, all for show, without real understanding or sincerity, mistrustful, affected, hypocritical! ... Alas! Not one who understands me, not one who resembles me or has a soul that is sister to mine [note G]. There is not one among them all who has known my soul, not one who could read my thoughts-far from it; not one capable of seeking the shining summits with me, or of spelling out with me the superhuman word Love!" 
(A lacuna.)-He cries mournfully: "In all the world there is not a single one! I have searched among a hundred tribes. I have aged a hundred moons since I began. Will there never be anyone who will know my soul?-Yes, by almighty God, yes!-But ten thousand moons will wax and wane before her pure soul is born. And it is from another world that her parents will come to this one. She will be fair of skin and fair-haired. She will know sorrow even before her mother bears her. Suffering will be her companion; she too will seek-and will find no one who understands her. Many a suitor will wish to pay court to her, but not one of them will know how to understand her. Temptation will often assail her soul, but she will not yield .... In her dreams I shall come to her, and she will undentand [note H]. I have kept my body inviolate [note I]. I have come ten thousand .moons before her time, and she will come ten thousand moons too late. But she will understand! It is but once in ten thousand moons that a soul like hers is bornl" 
(A lacuna.)-A green viper darts out of the bushes, glides towards him, and stings him in the arm; then it attacks his horse, which is the first to succumb. Then Chi-wan-to-pel says to his horse: "Farewell, faithful brother I Enter into your rest! I have loved ydu and you have served me well. Farewell, I shall 
459 

APPENDIX 
rejoin you soon!" Then to the serpent: "Thanks, little sister, you have put an end to my wanderings!" Now he shrieks with pain and calls out in prayer, "Almighty God, take me soon! I have sought to know thee and to keep thy law. Oh, suffer not my body to fall into corruption and decay, and become carrion for the eagles!" A smoking volcano appears in the distance [note K], the rumbling of an earthquake is heard, followed by a landslide. Chi-wan-to-pel cries out in an extremity of anguish as the earth closes over his body: "Ah, she will understand! ]a-ni-wama, ja-ni-wa-ma, thou that understandest me!" 
Remarks and ExPlanatory Notes 
You will agree, I think, that as a work of imagination, this hypnagogic fantasy is well worth a little attention. It is certainly not wanting in complexity and strangeness of form, and one may even claim a certain originality for its combination of themes. One might even be able to make it into a kind of melodrama in one act. If I were personally inclined to exaggerate the purport of compositions of this kind, and were not able to recognize many familiar elements in this phantasmagoria, I might let myself go so far as to regard Chi-wan-to-pel as my "control," my spirit-guide, after the manner of so many mediums. I need hardly tell you that I do no such thing. So let us look for the probable sources of this little account. 
First, as to the name Chi-wan-to-pel: one day, when I was fully awake, there suddenly came into my mind the word A-ha-ma-ra-ma, surrounded by an Assyrian decoration, and I had only to compare it with other names I already knew, such as Ahasuerus, Asurabama (who made cuneiform bricks), to detect its origin. Similarly here; compare Chi-wan-to-pel with Po-po-cat-a-pel,1° the name of a volcano in Central America as we have been taught to pronounce it: the similarity of construction is striking. 
I note also that, on the previous day, I had received a letter from Naples, on the envelope of which there was a view of Vesuvius smoking in the distance [K].-In my childhood I was particularly interested in Aztec remains and in the history of Peru and the Incas. [A and B].-I had recently visited a fasci10 [Sic. Regularly Popocatepetl; it is actually in central Mexico.] 
460 

THE MILLER FANTASIES 
nating exhibition of Indians, with their costumes, etc., which have found a quite appropriate place in the dream [D].- The well-known passage in Shakespeare 11 where Cassius bares his breast to Brutus furnishes me with an easy explanation of scene [E]; and scene [F] recalls to me the story of Buddha leaving his father's home, or equally, the story of Rasselas, prince of Abyssinia, by Samuel ]ohnson.- There are many details, too, which make one think of the Song of Hiawatha, Longfellow's Indian epic, whose rhythm has been unconsciously followed in several passages of Chi-wan-to-pel's soliloquy. And his burning need for someone who resembles himself [G] presents the greatest analogy with Siegfried's feelings for Brunhild, so marvellously expressed by Wagner.-Finally [I] I had recently heard a lecture by Felix Adler, on the Inviolable Personality (The inviolate Personality 12). 
In the feverish life one leads in N ew York, a thousand different elements are often mixed in the total impression of a single day. Concerts, lectures, books, reviews, theatrical performances, etc., there is enough to put your brain in quite a whirl. It is said that nothing of what enters into your mind is ever completely lost; that some association of ideas, or a certain conjunction of circumstances, may be enough to re-animate even the slightest impression. It seems that this may apply in many cases. For example here, the details of the dream-city [C] reproduced almost exactly those on the cover of one of the reviews I had lately been reading. So it is possible, after all, that this whole affair may be nothing more than a mosaic of the following elements: 
A.-Aztec remains and history of the Incas of Peru. B.-Pizarro in Peru. 
C.-Engravings and illustrations, recently seen in various magaZInes. 
D.-Exhibition of Indians with their costumes, etc. E.-Recollection of a passage from Shakespeare's ]ulius 
Caesar. 
F.-Departure of Buddha and of Rasselas. 
G. and H.-Siegfried sighing after Brunhild. I.-Memory of a lecture on the Inviolable Personality. K.-View of Vesuvius on the envelope of a letter. 
	11 ]ulius Caesar, Act IV, scene 3. 	12 [Sic, in English.] 
461 

APPENDIX 
And now, if I add that, for days before, I had been in quest of "an original idea," not much effort is required to see that this mosaic may have formed itself out of the multitude of impressions that are necessarily encountered in a very busy life, and may have taken on this fantastic, oneiric form. This was about midnight, and it may be that my fatigue and torment of mind had to some degree disturbed or deformed the current of my thoughts. 
P.S.-I fear that my concern for exactitude may have induced me to give my observations rather too personal a turn. But I hope-and this is my excuse-that they may help others to free their minds from things of the same kind that are worrying them and do something to clear up the more complex phenomena that are often presented by mediums. 
462 

BIBLIOGRAPHY 

BIBLIOGRAPHY 
ABEGHIAN, MANuK. Der armenische Volksglaube. Leipzig, 1899. ABRAHAM, KARL. Dreams and Myths. Translated by William Alanson White. (Nervous and Mental Disease Monograph Series, IS.) New York, 1913. 
Acts of Thomas. In: ApocryPhal Gospels, Acts, and Revelations. 
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ADLER, GERHARD. Studies in Analytical Psychology. London and New York, 1948. 
AESCHYLUS. Prometheus. In: Aeschylus. [Plays]. With an English translation by Herbert Weir Smyth. 2 vols. (Loeb Classical Library.) London and New York, 1922-26. 
AGRIPPA, HEINRICH COKNELIUS, of Nettesheim. De occulta philosophia Libri tres. Cologne, 1S33. 
AIGREMONT, DR., pseud. (Siegmar Baron von Schultze-GalIera). Fussund Schuhsymbolik und -Erotik. Leipzig, 1909. 
--. V olkserotik und Pfianzenwelt. 2 vols. Halle, 1908-9. ALCIATI, ANDREA. Emblemata cum Commentariis. Padua, 1621. 
ApULEIUS, LucIUs. The Golden Ass, being the MetamorPhoses of Lucius Apuleius. With an English translation by William Adlington (IS66) revised by Stephen Gaselee. (Loeb Classical Library.) London and New York, 1915. 
--. Les MetamorPhoses ou l'Asne Dor de L. Apulee, PhilosoPhe Platonique. Paris~ 1648-. 
--. The Transformations of Lucius, known as the Golden Ass. 
Translated by Robert Graves. (Penguin Classics.) London, 19So. 
Archiiologische Zeitung. (Gerhards Denkmaler, Forschungen und Berichte.) Berlin. 
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ARCHAEOLOGISCHES INSTITUT DES DEUTSCHEN REICHES (Rome). Annali. ARNOBIUS. Disputationum adversus Gentes libri septem. See Migne, P.L., vol. 5, cols. 713-1290. 
--. The Seven Books of Arnobius Adversus Gentes. Translated by A. H. Bryce and H. Campbell. (Ante-Nicene Christian Library, 19.) Edinburgh, 187l. 
ARNOLD, SIR EDWIN. The Light of Asia, or The Great Renunciation. 
London, 1906 (1St edn., 1879)' 
--. See also Bhagavad Gita. 
ASTERIUS, BISHOP OF AMASEA. H omilia X in sanctos martyres. See Migne, P.G., vol. 40, cols. 323-24. 
AUGUSTINE, SAINT. Confessiones. See Migne, PL., voL 32. For translation, see: 
[--.] The Confessions of St. Augustine. Translated by Francis Joseph Sheed. New York and London, 1943. 
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BAILLET, LOUIS. "Les Miniatures du Scivias de Ste Hildegarde," Monuments et Memoires publies par l'Academie des InscriPtions et Belles-Lettres (Paris), XIX (1911), 49-149· 
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BANCROFT, HUBERT HOWE. The Native Races of the Pacific States of North America. New York and London. 1875-76. 5 vols. 
BARCHUSEN, ]OHANN KONRAD. Elementa chemiae. Lugdunum Batavorum [Leiden], 1718. 
BARLACH, ERNST. Der tote Tag. Berlin, 1912; 2nd edn., 1918. 466 

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495 

LINGUISTIC ABBREVIATIONS 

Armen. Att. Celt. Church 
Slav. 
E., Eng. F. 
G. Goth. Gr. IceI. IEur. Lat. 

Armenian Attic Celtic 
Church Slavonic English 
French 
German 
Gothic 
Greek 
Icelandic Indo-European Latin 

Lith. MHG. OBulg. OE. OHG. OlceI. Olnd. OIr. OIran. ON. Skr. Slav. Ved. 

Lithuanian 
Middle High German Old Bulgarian 
Old English (Anglo-Saxon) Old High German 
Old Icelandic 
Old Indic 
Old Irish 
Old Iranian 
Old Norse 
Sanskrit 
Slavonic 
Vedic 

INDEX 

• indicates a hypothetical form