‘The work of the painter, the poet and the composer and the myths and symbols of primitive man [should] seem to us if not as a superior form of knowledge, at any rate as the most fundamental form of knowledge, and the only one that we all have in common; knowledge in the scientific sense is merely the sharpened edge of this other knowledge. More penetrating it may be, because its edge has been sharpened on the hard stone of fact, but this penetration has been acquired at the price of a great loss of substance’ (p. 303: emphasis added).
