true conception of deity, 222, 223.
Antique, the, classical conception of poetry and the poet, 17-19; illustrated by Guido's Aurora, 29, by Homer's "Vision," ib.; comprehension of nature's rythm, 52; sculpture, 63; ancient classification of poetry, 76; spirit of an Athenian audience, 79; classicism of Keats and Landor, 124; in modern Italian poetry, 128; Arnold's early subjection to, 133, 134; Schlegel on, 134; our compensation for its loss, 139, 143; the Academic, 157; perfection of, 159; its simplicity, 175, 176; expression of its own time, 199; informing yet objective view of nature, 207, 208; English "classical" style, 213; genius for configuration, 242; the pagan supernaturalism, 243; unison of passion and art, 262; Emerson's philosophy, 267; and see Hellenism.
Arabian Nights, The, Galland's, Payne's and Burton's translations, 82; and see 193.
Architecture, served by the other arts, 64; Japanese, La Farge on, 163.
Ariosto, 112.
Aristophanes, and the drama, 99; and see 79, 88, 190.
Aristotle, his view of the nature of poetry, 17-19; relations to Plato, 21; and see 27.
Arnim, 118.
Arnold, E., 82, 235.
Arnold, M., as Goethe's pupil, 19; poetry as a criticism of life, 27, 28; "Thyrsis," 90; conflict of his critical theory with his own genius, 133-135; preface to his second edition, 133, and poems conforming to, 133, 134; subjective lyrics, 134; temperament and career, 135; his selections from Wordsworth, 172; on the Wordsworthians, 219; his beauteous unrest, 294; quoted, 118, 194, 295; and see 162, 218, 289, 290.
"Ars Victrix," Dobson, quoted, 173.
Art, substructural laws of, 6, 7; consensus and differentiation of its modes, 50; it must have life, 70; "Art for Art's sake," 129, 167; its beauteous paradox, 181; not artifice, 201; Goethe and Haydon, ib.; has a truth of its own, 202; cause of our delight in, ib.; vice nullifies the force of, 216; its absolute liberty, 220; the artist's labor a natural piety, 221; artistic nonconformity, 222; the artist's God, 222, 223; God the master-artist, ib.; clearness and retentive faculty of the musician and painter, 232-234,—of the poet, 234, 235; heightened by passion, 262; must express states of soul, 272; repose and true naturalism, 273; and modern inspiration, 287; its best atmosphere, 291; and see Artistic
