"Single-Poem Poets," 171.
"Sir Galahad," Tennyson, 266.
"Sisters, The," Tennyson, 270.
Skepticism, the nobler, of Lucretius, Omar, Shelley, etc., 217 et seq.; and see Faith.
Smyth, A. H., quoted, 169, 170.
Snider, D. J., on the Homeric epos, 95.
Snow-Bound, Whittier, 268.
Society Drama, 275.
Society Verse, Horace and his successors, 93; and see 226.
Sohrab and Rustum, Arnold, 134, 194.
Songs and Lyrics, Jonson's, Fletcher's, Suckling's, Waller's, French chansons, etc., 170-172; endurance of, ib.; translation of, ib.; songs—as distinguished from the pure lyric, 178,—English, German, etc., 179,—martial, national, etc., 266; English song dirges, 184.
Songs before Sunrise, Swinburne, 262.
Sonnets, Milton's, 117; Rossetti's House of Life, 269.
Sonnets from the Portuguese, Mrs. Browning, 128.
Sophocles, on Æschylus, 46; and the Greek drama, 98, 99; impersonality of, 107; and see 142, 169, 190, 238.
Sordello, Browning, 108.
Sound. See Rhythm and Melody.
Southey, 235.
Specialists, poetic, 80.
Speech. See Language.
Spencer, Herbert, on music, 65.
Spenser, as a picture-maker, 67; art of, 170; and see 90, 115, 249.
Spirituality, the universal extramundane conception of beauty, 163.
Spontaneity, a test of, 11; Arnold's, 134; vs. the commonplace, 219; and see 135, 227, 264, 284, 285.
Stage, The, Elizabethan, 191; and see 271; also The Drama.
"St. Agnes," Tennyson, 266.
St. Gaudens, A., sculptor, 13.
Stendhal. See M. H. Beyle.
Sterility, metrical impotence,—want of creative power in adroit mechanicians, 44; uncreative periods, 48.
Stoddard, Elizabeth, 253; her novels, 273.
Stoddard, R. H., "An Horatian Ode," 239; his imaginative odes and blank verse, 252; quoted, 237; and see 129, 179.
Strafford, Browning, 110.
Street, A. B., 190.
Style, Browning's lack of, 91; Tennyson's, 91; charm of Vergil's, 91; Shakespeare's, 109; the Miltonic, 116; extreme individuality of Swinburne's, 132, 133; is subjective, 144; directness, 192, 193; methods as affecting quality, 214, 215; "The grand manner," 248.
Subjectivity (the personal note), one of the two ruling qualities of art, 77; the subjective poet, 80, 81; specialists, ib.; how far
