Arnold's theory and epical studies, 133, 134; the "note of the inevitable," 134; our greater prose fiction, 137, 138; not the chief test of poetic genius, 139; of the antique, compared with the muse of Christendom, 139-143; its invigorating value, 142; not the final test of poetry, 144; may be tame and artificial, ib.; the antique view of nature, 207; creation of impassioned types, 270-273; and see 250.
Obscurity, 235.
"Ode on a Grecian Urn," Keats, 67, 187.
Odes, Lowell's and Emerson's, 267.
Odyssey, The, 131; and see Homer.
Œdipus at Colonos, Sophocles, 190, 238.
Œdipus Tyrannus, Sophocles, 98, 104.
"Œnone," Tennyson, 177, 200, 242.
"Old Pictures in Florence," Browning, 170.
Omar Khayyám, Rubáiyát of, Fitzgerald, 82, 212.
"On a Bust of Dante," Parsons, 254.
On Education, Milton's tractate, 27.
On the Heights, Auerbach, 137.
"On the Receipt of my Mother's Picture," Cowper, 274.
Optimism, of sovereign poets, 290; and see 295, 296.
Orientalism, Zoroaster, 22; Japanese art, 31; the Asiatic inspiration, how far understood and transformed by us, 81, 82; Hebrew genius and poetry, 82, 87; influence on the Alexandrian school, 90; Firdusi, 111; India, China, etc., 162; and see 244, also Hebraism, the Japanese, Poetry of the Bible, etc.
Originality, distinguished from skill, 60; not discordant with universal principles, 151; of genius, 277, 283.
Orion; Horne, 29.
Orlando Innamorato, Ariosto, 112.
Outline, 246.
Ovid, cited, 19; and see 92.
Paganism, 112; and see The Antique.
Painting, Guide's Aurora, 29; the Oriental and the Western methods of vision, 31, 32; the born painter, 53; its powers and limits, 63; must avoid a literary cast, 71; superior to poetry in depicting visible nature, 202; and see 282.
"Palace of Art, The," Tennyson, 167.
Palgrave, F. T., quoted, 136; and see 172.
Paradise Lost, Milton, 35, 238, 245.
Paradise, Il, Dante, 174.
Parnassiens, the French, 130.
Parsons, T. W., "On a Bust of Dante," 114; and see 254.
Passion, The Romantic view of
