a trait of the speechless arts, 80; of the Hebrew lyrists, 82-85; modern self-consciousness, 85; of the Greek lyrists, anthologists, idyllists, 87-90; of Euripides and his satirist, 88; of style, as in Vergil, etc., 91; of Latin song, 92-94; the cry of adolescence, 79, 101; the subjective modern drama of Browning, 108; subjective undertone of later epic masterpieces, 111, 112; of Dante, 113; beginning of English self-expression, 115; of Milton's epic and sonnets, 115-118; typical of the nineteenth century, 118; finds its extreme in the Romantic and Georgian schools, 118-127; necessity for self-utterance in youth, its force and dangers, 121; Byron an eminent exemplar of, 122, 123; Shelley's, 124; Heine's, 125-127; may be termed feminine, 127; Mrs. Browning's, 128; qualified vision of the modern art-school, 129 et seq.; of style, in Swinburne, 131; a matter of temperament, 133; Arnold's theory against, 133,—his subjective poetry, 134, 135; not opposed to genius, 139; a pervading characteristic of the poetry of Christendom, as contrasted with the antique, 139-143; sympathetic quality, 140; its introspection typified by Dürer's "Melencolia," 140, 141; to what extent neurotic sensitiveness, 141, 142; resulting loss and gain, 142; great worth of individuality in style and feeling, 143 et seq.; the poet finds in nature his own mood, 202-204; the "pathetic fallacy," 204-210; of English emotional verse, 265; and see 250.
Sublimity, of the Vague, 244; and see Imagination.
Suckling, Sir J., 171.
Suggestiveness, in Japanese art, 31; an imaginative factor, 239; and see 59.
Supernatural, the, not always an imaginative element, 236,—but sometimes purely so, 238; of the Southern and Northern literatures, compared, 243.
Supernaturalism, of Camoëns and Milton, 245.
Swift, 94.
Swinburne, subjective style of, 132; strength and beauty of his dramas, 132; certain results of his lyrical individuality, 132, 133; his erotic verse and true passion, 262; quoted, 63; and see 131, 179, 200, 203, 251.
Symbolism. See Allegory.
Sympathetic quality. See Subjectivity.
Sympathy, poets of, 268.
Symphonic quality,—the Liturgy, 293.
Taine, 8, 50; his theory of environment, etc., 276.
Tale of Two Cities, A, Dickens, 55, 137.
