58 SOCIAL SCIENTIST ern Art, New Delhi, which I visited on 30th June, 1985. I have not confined us scope to the National Gallery exhibits but have attempted a general examination of the themes and concerns of Goya's engravings. 2 Enrique Lafuente Ferrari, Goya: His Complete Etchings, Aquatints and Lithographs (London : Thames and Hudson, 1962), p. II. 3 Quoted in ibid., p. VIII. 4 Quoted in ibid., p. XVI. 5 Quoted in Pierre Gassier and Juliet Wilsop. Goya : His Life and Work (London : Thames and Hudson, 1971), p. 223. 6 Quoted in ibid., p. 212. 7 Quoted in ibid., p. 224. 8 Ferrari, op. cit., p. III. 9 Richard Schikel, Ths World of Goya (New York : Time-Life Books, 1968), p. 116. 10 It is not feasibfe to go into details here; I have written a paper on this phenomenon with reference to English literature in the age of reason, where the preoccupation with madness as an ideological conception is found in the writings of, among others, Dryden, Swift, Johnson, Cowper, Collins, Smart and Blake. 11 Bernard Hart, The Psychology of Insanity (Cambridge: University Press, 1950), p. 18. 12 Christopher Hill, The World Turned Upside Down (Harmondsworth : Penguin Books, 1978); E.P. Thompson, The Making of the English Working Class (1963; rep. Harmondsworth : Penguin Books, 1968); and Michel Foucault, Madness and Civilization: A History of Insanity in the Age of Reason (New York: Random House, 1965). 13 Mikh^il Bakhtin, Rabelais and His World, quoted in Maynard Solomon (ed.), Marxism and Art : Essays Classic and Contemporary (Brighton, Sussex: Harvester Press Ltd., 1979), p. 294