adapted to our faculties, 198, 199.
Sensibility, Poetic, 122.
Sensitiveness—is genius a neurotic disorder? 141, 142.
Sensuality, outlawed of the highest art, 262.
Sensuousness, the Miltonic canon, 27; how sensuous impressions affect the soul, 154; required by Goethe, 247; and see 262.
Sententiousness, the gift of "saying things," 213.
Sentiment, lyrical, of southern Europe, 264; of British song, 264, 265; and see Passion.
Sentimentalism, foreign to our analysis, 8; of the minor Byronic poets, 121; Keats on, in the preface to "Endymion," 122; and see 265.
Seriousness—the poetry of Christendom, 143.
Shah Nameh, Firdusi, 111.
Shairp, J. C., 218.
Shakespeare, his dramatic insight, 69; subjective sonnets, etc., 79, 168; wisdom of, 98; the unrevealed and "myriad-minded," 101; the playwright, stage and period, 105; and Homer, 106; The Tempest, 106, 107; impersonality of, 107; "not a man of letters," 151; his truth to nature, 189; his stage effects, 191; his errors of fact immaterial, 201; the preëminent exemplar of the imaginative faculty, 229-231; his future hold, 230; intelligibility of, 236; his absolutely imaginative beings, 238; not strong in construction, 238; verbal felicity of, 240; his artistic self-control, 243; and Webster, 249; method of, 273; his dramas and the stage, 274; his faith, 290; quoted, 229, 236, 274; and see 57, 76, 113, 128, 170, 172, 179, 248, 256, 283.
Shelley, his Defense of Poetry, 25; The Cenci, 69; Arnold on, 117, 118; poetry and character of, 123, 124; as Swinburne's predecessor, 132; his mission ethical, 218; false criticism of his life and works, ib.; his diction, 241; as the "poet of cloudland," 246; his imagination, ib.; quoted, 143, 266; and see 89, 90, 169, 173, 179, 208, 251, 290.
Shelley, Mary (Godwin), 246.
Shenstone, W., on poets as critics, 12.
Sidney, Sir Philip, in the Defense of Poesie, 23; a maxim of, 140; quoted, 62, 258; and see 57.
Sienkiewicz, novelist, 137.
Simonides, 87.
Simplicity, Milton's requirement, 27; essential to beauty, 175-177; of the Hebrew idyls, 175; of the antique and of the modern, 176; may be assumed, 177; poetic force of a direct and simple statement, 193, 194; Bryant's, 252.
Sincerity, averse to foreign and classical reproductions, 201; noble skepticism, 217; of emotion, 261.
