I have often said that I regard criticism itself as a systematic subject, and there are systematic tendencies in the Anatomy of Criticism, particularly in the way that it tries to unite different critical methods…. But I do not think of the Anatomy as primarily systematic: I think of it rather as schematic. The reason why it is schematic is that poetic thinking is schematic. The structure of images that C. S. Lewis in The Discarded Image calls "the Model" was a projected schematic construct which provided the main organization for literature down to the Renaissance: it modulated into less projected forms after Newton's time, but it did not lose its central place in literature. The attraction that poets have felt during the last two centuries for occult and other offbeat forms of thought, while very largely ignoring the advance of real science, has always seemed to me...