expressive, 76-81; its technical partition, into the epic, dramatic, lyric, etc., 76; impersonal or unconditioned song, 77-81, 94-101, 104; creative masterpieces, 78, 79; self-expressive or subjective song, 80 et seq., and 111-145, passim; eastern Asiatic, 81; Hebraic, 82-87; Hellenic, 87-90; Latin, 90-94; must not be disillusionized, 96; the grand drama, 101-107; modern and subjective drama, 108-110; Persian,—Firdusi, etc., 111; Italian and Portuguese epics, 112; the "Divina Commedia" and Dante, 112-115; allegorical,—the Fairie Queene," 114; from Chaucer to Milton, 115; the great Puritan epic, "Paradise Lost," 115-117; poetry of the Nineteenth Century, 118; the Romantic Movement, 118-120; Goethe, Hugo, etc., 119; of Burns, 120; of Byron, 120-123; Wertherism, 121; of sentiment in youth, 122; of Shelley, Keats, Landor, Coleridge, etc., 123-125; of Unrest,—Heine, 125-127; its masculine and feminine elements, or the major and minor keys of lyric song, 127; of Mrs. Browning, 128; of national sentiment, 128; of art for art's sake, 129 et seq.; of the Pre-Raphaelites, Parnassiens, Neo-Romanticists, 129, 130; latter-day verse, 130, 131; of Scott and W. Morris, contrasted, 131; of Swinburne, 131-133; of M. Arnold, in view of his early theory, 133-135; of the composite era, 136; of the antique, and that of Christendom,—an estimate of our loss and gain, 139-143; how it must be tested, 144; as an artistic expression of the beautiful, 147-185; Poe's definition of, 151, 152; movements for greater freedom and variety in, 158; translations of, 166; made enduring by beauty, through natural selection, 166-172; concrete beauty of, 167, 168; survival of classic masterpieces, 168, 169; beauty of our English, 170-172; modern art school of, 173; elements of its concrete perfection, 173-180; primitive rhapsody, 175; the vox humana, 178; Mill and Poe on "a long poem," 178; the pure lyric, 178-180; its note of evanescence, 181-185; the didactic heresy, 187; element of Truth in, 187-223; "description," its strength and weakness, 189, 190, 202; breadth of, vs. analysis, 191-193; naturalness, 193; "reflection," of nature, 194-196; realistic, 196-199; local flavor, 200; subjective expression of nature, 202-204; "the pathetic fallacy" in, illustrated by Landor, Wordsworth, etc., and refuted by Lee-Hamilton, 204-207; of nature, its modern importance, 210; a life-school
