Indeed, the older magical landscape, weakened into figures of speech, still clings to the wondrous sentences with which Stendhal notes the process, as in a similar situation in La Chartreuse: “La pensée du privilège avait desseche cette plante toujours si délicate qu’on nomme le bonheur.” Such passages do not so much document the originality of the contribution Stendhal felt he was making to the nascent “science” of psychology (or of idéologie, as his master Destutt de Tracy called it), but rather mark the rationalizing interiorization of the form by way of the assimilation of historically new
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Wasteland as exteriorizationnof internal life.
Genre fiction as a return to older story forms. Romance as a typing these type of a more psychoanalytical/modern form of storytelling
