The Nature and Elements of Poetry/Index

by Edmund Clarence Stedman

ANALYTICAL INDEX

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Academic, the, revolts against, and rise of new schools, 148, 150, 151; cause of its despotism, 157; value of its standards, 159; Sir Joshua Reynolds, 161, 162.

Action, of the drama, 105; defended by Arnold, 133; as the poet's theme, 268.

Actor, the, 271.

Adam Bede, Mrs. Cross, 137.

Addison, 101, 250.

"Adonais," Shelley, 90, 124.

Æneid, The, Vergil, 91-93, 212, 286.

Æschylus and the Greek drama, 98,99; and see 46, 169, 240, 251.

Æstheticism, less artistic than emotion, 262.

Æsthetics, Poe on Beauty and Taste, 26; Berkeleian theory of, 148, 149; Véron, in his L'Æsthetique, 152, 157; and see Beauty and Taste.

Affectation of feeling, 262.

"Agincourt," Drayton, 94.

Agnosticism, the sincere, 294.

Alastor, Shelley, 124.

Alcæus, 87.

Alcestis, Euripides, 99.

Alexandrian Library, 168.

Alexandrian Period, the Sicilian style, 89, 90.

Alfieri, 128, 133.

Allegory, of Dante, Spencer, and Bunyan, 114; and see 249.

America, theory of her institutions, 3; American quality should pervade our native poetry and sculpture, 200; now on trial, 229.

American Poetry, Longfellow and his mission, 91; its fidelity to Nature, 195; its "elemental" feeling, 252-254; Whittier and Longfellow, 268; the "elder American poets," 276, 297; and see 225, 242.

American School. See American Poetry.

Amiel, 135; quoted, 196.

Anacreon, 93.

Analytic Poetry, Browning, 108; Browning's method compared with Shakespeare's, etc., 191, 192; and see 80.

Ancient Mariner, The Rime of the, Coleridge, 81, 125.

Anna Karénina, Tolstoi, 137.

Anthology, the Greek, 88, 169, 183; the Latin, 92.

Anthropomorphism, the artists' true conception of deity, 222, 223.

Antique, the, classical conception of poetry and the poet, 17-19; illustrated by Guido's Aurora, 29, by Homer's "Vision," ib.; comprehension of nature's rythm, 52; sculpture, 63; ancient classification of poetry, 76; spirit of an Athenian audience, 79; classicism of Keats and Landor, 124; in modern Italian poetry, 128; Arnold's early subjection to, 133, 134; Schlegel on, 134; our compensation for its loss, 139, 143; the Academic, 157; perfection of, 159; its simplicity, 175, 176; expression of its own time, 199; informing yet objective view of nature, 207, 208; English "classical" style, 213; genius for configuration, 242; the pagan supernaturalism, 243; unison of passion and art, 262; Emerson's philosophy, 267; and see Hellenism.

Arabian Nights, The, Galland's, Payne's and Burton's translations, 82; and see 193.

Architecture, served by the other arts, 64; Japanese, La Farge on, 163.

Ariosto, 112.

Aristophanes, and the drama, 99; and see 79, 88, 190.

Aristotle, his view of the nature of poetry, 17-19; relations to Plato, 21; and see 27.

Arnim, 118.

Arnold, E., 82, 235.

Arnold, M., as Goethe's pupil, 19; poetry as a criticism of life, 27, 28; "Thyrsis," 90; conflict of his critical theory with his own genius, 133-135; preface to his second edition, 133, and poems conforming to, 133, 134; subjective lyrics, 134; temperament and career, 135; his selections from Wordsworth, 172; on the Wordsworthians, 219; his beauteous unrest, 294; quoted, 118, 194, 295; and see 162, 218, 289, 290.

"Ars Victrix," Dobson, quoted, 173.

Art, substructural laws of, 6, 7; consensus and differentiation of its modes, 50; it must have life, 70; "Art for Art's sake," 129, 167; its beauteous paradox, 181; not artifice, 201; Goethe and Haydon, ib.; has a truth of its own, 202; cause of our delight in, ib.; vice nullifies the force of, 216; its absolute liberty, 220; the artist's labor a natural piety, 221; artistic nonconformity, 222; the artist's God, 222, 223; God the master-artist, ib.; clearness and retentive faculty of the musician and painter, 232-234,—of the poet, 234, 235; heightened by passion, 262; must express states of soul, 272; repose and true naturalism, 273; and modern inspiration, 287; its best atmosphere, 291; and see Artistic Quality, The Fine Arts, Composite Art, etc.

Arte of English Poesie, The, Puttenham, 198.

Artificiality, 48, 177.

Artisanship, 226.

Artistic Dissatisfaction, 286.

Artistic Quality, heightened by passion, 128; extreme recent finish, 129, 130; often in excess of originality, 131; Swinburne's, 132.

Art Life, the, studio and table talk, 12; and see 221-223.

Art School, the, recent characteristics of, 130, 131; of the Nineteenth Century, 173; the minor, 235.

Arts, the fine, their practical value, 14; consensus of, 15; music, painting, etc., as compared with poetry, 63-72; Lessing's canon, 66; the "speechless" arts normally objective, 80; must express the beautiful, 147; illustrative of poetry, 155; a Japanese at the Art Students' League, 165; and see Architecture, Music, Painting, Sculpture.

Aryan Literature, 87.

Association, 250.

"Astrophel," Spenser, 90.

Atalanta in Calydon, Swinburne, 132.

Auerbach, B., novelist, 137.

"Auld Lang Syne," Burns, 264.

"Auld Robin Gray," Lady Barnard, 194.

Aurora Leigh, Mrs. Browning, 237.

Ausonius, 169.

Austen, Jane, novelist, 138.

Bacon, on Poetry, 23; quoted, 203; and see 57.

Balder Dead, Arnold, 134, 135.

Ballads, early English, 94; Thackeray's, 215; and see 194.

Balzac, quoted, 34; and see 137, 283.

Banville, Th. de, 35, 131, 158.

Barnard, Lady, quoted, 194.

Bascom, J., critic, 20.

"Battle Hymn of the Republic," Mrs. Howe, 267.

Baudelaire, 133.

Beauty, proclaimed the sole end of Poetry, by Schlegel and Poe, 26; poetry as an expression of, 46-48; its arbiter, Taste, 47; false standards of, 48; considered as an element in poetry and cognate arts, 147-185; its expression an indispensable function, 147; recurrent denials of its indispensability, 147 et seq.; these are merely revolts against hackneyed standards, 148, 150, 151, 158; its immortal changefulness, 148; whether it is a chimera, 148, 152-158; this theory purely Berkeleian, and repulsive to the artistic instinct, 149, 155; the "transcendental" contempt for, 149; Emerson's recognition of, 149; impressionism merely a fresh search for, 150; exists in some guise in every lasting work of art, 151; the new Æsthetics, as set forth by E. Véron, 152, 153; its truth and its fallacies, ib. et seq.; derives specific character from its maker's individuality, 152, 153; what B. really is, viz., a quality regulating the vibratory expression of substances, 153-155; all impressions of it unite in spiritual feeling, 154; moral and physical analogous, 154; perception of it is subjective, 155; its quality objective, ib.; its connection with the perfection of nature and the fitness of things, 156, with utility, ib.; the natural quality of all things, 156; recognized intuitively by the poet, 157; unconsciously postulated even by Véron, 157; danger of irreverence for, 158; national and racial ideals of, 159-165; the Grecian, 159; of the Renaissance, 160; zest for, associated with novelty, ib.; the English academic standard, 161; antipodal conceptions of, the Japanese, 162-165; specific evolution of, 164; not fully transferable by translation, etc., 166; essential to the endurance of a poem, or other work of art, 166-173; considered here in the concrete, 167; symbolizes Truth in pure form, 168; the poet's instinct for, ib.; has conserved the choicest part of ancient poetry, ib.; its effect in the poetry of our own tongue, 170-172; present revival of love for, 172, 173; its concrete poetic elements, 173-180; of melody and scriptural effect, 174; of construction, 174; of simplicity, 175; of variety, 176; of naturalness, 176; of decoration and detail, 177; psychical, 177, 178; of the pure lyric, 178-180; of Charm, 179, 180; of the suggestion of Evanescence, 181-185; what is meant by its unity with Truth, 187, 188, 220-224; and sadness, 267; and see 75; also Aesthetics, Taste, etc.

Berkeleianism, as applied to poetry and the arts, 15.

Berkeley, his ideal philosophy, 149. 155.

Beyle, M. H. (Stendhal), quoted, 272.

Bible, Poetry of the, 82-87; the Hebraic genius, 83; racial exaltation of, 83, 84; intense personal feeling of the Psalmists, etc., 84, 85; naïveté and universality, 85; Book of Job, 86; Esther and Ruth, 87, 175; sublimity of, 244; its "elemental" quality, 251; and see 55, 191, 194.

Bion, 90.

"Bishop Blougram's Apology," Browning, 109.

Bizarre, The, 158.

Blackmore, novelist, 157.

Blake, W., quoted, 233; genius of, ib.; and see 58, 158, 238, 250.

Blank Verse, English, the noblest dramatic measure, 105.

Bleak House, Dickens, 137.

"Blessed Damozel, The," Rossetti, 269.

Blot in the 'Scutcheon, A, Browning, 110.

Boccaccio, 57, 101.

Boileau, 18.

Boner, J. H., quoted, 242. Bonnat, L. J. F., artist, 9.

Brahmanism. See Orientalism.

Breadth, a mark of superiority in portraying life and nature, 191.

Bride of Lammermoor, The, Scott, 137.

"Bridge of Sighs, The," Hood, 265.

Bridges, R., 179; song by, quoted, 185.

Bronté, Charlotte, 137.

Bronté, Emily, 137, 273.

Browning, his use of rhyme, 56; the master of analytic and psychological drama, 108-110; individuality of, 108; how his work is subjective, 109; method of, ib.; Swinburne on, ib.; dramatic lyrics and monologues, ib.; compared with Shakespeare, 109, 110; and the stage, 110; his statement of the poet's art, 24; as a critical idealist, 169; as a dramatist, 191, 192; his nature-touches, 192, 193; as a thinker and moralist, 213; his estimate of Shelley, 219; his types of passion, 272; originality of, 277; quoted, 197; and see, 35, 42, 60, 69, 136, 142, 215, 288, 290.

Browning, Mrs., passion and beauty of her self-expression, 128; compared with Sappho, 88; "Aurora Leigh," 237; and see 4, 177, 266.

Bryant, W. C., his broad manner, 194, 195; elemental mood of, 252; quoted, 237; and see 129, 210.

Bucolic verse. See Greek Bucolic Poets, Nature, Idyllic Poets, etc.

Buddhism. See Orientalism.

Buffon, on Genius, 278.

Bull, Lucy C., a child's recognition of Poetry, 124.

Bülow, H. von, musician, 232.

Bunyan, 52, 290.

Burns, his spontaneity, 120; quoted, 265; and see 135, 172, 173, 190, 195, 250, 255.

Burroughs, J., 62.

Burton, R. F., translator, 82.

Butcher, S. H., translator, 82.

Byron, chief of the English Romantic School, 19; view of Poetry, ib.; estimate of Pope, ib.; considered, 120-123; the typical subjective poet, 121; his "Childe Harold," 121; voice of his period, 122, 123; "Don Juan," 123; compared with Shelley, 124; compared with Heine, 125, 126; his unrest as a poet of nature, 203; influenced by Coleridge, 238, 239; imaginative language of, 241; quoted, 206, 244; and see 58, 60, 119, 142, 173, 195, 226, 251, 263, 290.

Cabanel, A., painter, 9.

Calderon, 79, 100, 101.

Callimachus, Elegiacs on Heracleitus, 89.

Camoëns, 79, 101, 112, 244.

Campbell, 266.

Canning, G., 94.

Carlyle, on inspiration, 23, 24; cited, 196; and see 58.

Carr, J. W. C., cited, 68.

Catholicity, 220.

Catullus, 92, 155, 169.

Cavalier Poets, 168.

"Cavalier's Song," Motherwell, 266.

Cellini, B., artist, 167, 247.

Cenci, The, Shelley, 69, 124.

Cervantes, 79, 101, 191.

Chapman, G., on poetry, 18.

Characterization, dramatic, 105; the novelist, 237.

Charm, of the perfect lyric, 179-182; of Evanescence, 181, 185.

Chatterton, 250, 255.

Chaucer, as a poet of the beautiful, 170; his imagination, 249; and see 115, 131, 215.

"Chevy Chase," 258.

Childe Harold, Byron, 121.

"Childe Roland," Browning, 109, 272.

"Children in the Wood, The," quoted, 194.

Chinese literature, 81.

Christabel, Coleridge, 125, 238, 248.

Christendom, Poetry of, its characteristics, 79; transfer of the Oriental spirit, 82; its epic masterpieces, 112-118; its poetry of Faith, 291; and see 243.

Christendom, The Muse of. See A. Dürer.

Christianity, contrasted with Paganism, 139-143; effect of its introspection and sympathy upon poetry, 139 et seq.; "The Muse of Christendom," 140, 141; its sublime seriousness, 143; and see 112 et seq.

Church, Christian, the mediæval, 140.

Cicero, believer in inspiration, 22.

Citation of Shakespeare, The, Landor, 125.

Clairon, actress, 282.

Classicism, in France, 18, 120; tribute to Prof. Gildersleeve, 100; pseudo, 144, 199, 200; of Queen Anne's time, 213; modern, 225; and see The Academic and The Antique.

Classification of the poetic Orders, 76.

Clearness of the artistic vision, 232.

Cleopatra, Haggard and Lang, 89.

Cloister and the Hearth, The, Reade, 137.

Clouds, The, Aristophanes, 190.

Clough, A. H., and Arnold's "Thyrsis," 90; his unrest, 294; zest of, 295; and see 135, 290.

Coan, T. M., on "the passion of Wordsworth," 263.

Coleridge, H., quoted, 256.

Coleridge, S. T., his instinct for beauty, 20; concord with Wordsworth as to poetry, imagination, science, 20, 28; genius of, 125; how moved by Nature, 202; "Ancient Mariner," 236; height and decline of his imagination, 238, 239; mastery of words, 241; cited, 81; quoted, 101; and see 27, 58, 119, 142, 162, 170, 173, 226, 245, 248, 266.

Collins, Mortimer, quoted, 97.

Collins, W., 142, 172, 184, 250, 270.

"Colonial" Revival, the recent, 160, 161.

Comedy, Aristophanes and Molière, 99, 100; Terence and Plautus, 100.

Commonplace, its use as a foil, 273; and see Didacticism.

Common Sense, 284.

Comparison, 250.

Complexity, undue, 175.

Composite Art, 76, 164.

Composite Period, the new, 136.

Comus, Milton, 236.

Conception, spontaneity of, 285; and see Imagination.

Configuration, of outline, imagery, etc., 242.

Conscious Thought, 147.

Consensus of the Arts, 50, 163, 199.

Construction, poetic architecture, 174; of plot, etc., 174-176; may be decorated, 177; of a sustained work, 178; imaginative, 237; of the Elizabethan dramatists, 243; and see 4.

Contemplative Poetry, Wordsworth's, 219; and see Truth, Didacticism, etc.

Cook, A. S., editor of Sidney's Defense, 23.

Cooper, J. F., novelist, 137.

Corot, painter, 246.

"Correctness" in Art, 162.

Cory's paraphrase on Callimachus, 89; "Mimnermus," 183.

Cotter's Saturday Night, The, Burns, 268.

Counterpoint, musical, 64.

Couture, painter, 10; quoted, 142.

Cowper, 142, 173, 190, 214; quoted, 274.

Cranch, C. P., quoted, 286.

Creative Eras. See Objectivity.

Creative Faculty, shared by the artist with his Maker, 44, 45; the modern, exercised upon prose fiction, 137, 138; secret of its genius, 163; Shakespeare's pure, 230; its divinity, 234; of the pure imagination, 237; as godlike, 254-258; men as gods, 256; imagined types of passion, 270; and see Objectivity.

Creative Quality. See Objectivity.

Criticism," applied," distinguished from pure, 8; poets as critics, 12; not iconoclastic, 16; recent analytic study of poetry by the public, 41; with respect to modern culture, 59, 60; by law, 80; sometimes to be deprecated, 96; the present a good time for poetic, 138; the best, 142; with respect to beauty, 147 et seq.; English critics of poetry, 162; Browning's, 170; false estimates of Shelley, 218; faulty, 219; Coleridge's, 239; on "states of soul," 272; a recurring question, 275; the present an age of, 296, 297; and see 249, 259.

Culprit Fay, The, Drake, 236, 237.

Culture, its success and limitations in art, 61; and see 277.

Cynicism, 289.

Dante, minor works of, 79; characterized, 112-115; one with his age and poem, 112; intense personality of, 113; Parsons' Lines on a Bust of, 114; compared with Milton, 115, 117, 245; his supernaturalism, 243; human feeling, 269; faith of, 290; quoted, 174; and see 76, 101, 217, 249, 287.

Davenant, Sir W., quoted, 197.

Davies, John, on music, 65.

"Day Dream, The," Tennyson, 68-70.

Decamerone, Il, Boccaccio, 131.

Decoration, 4; and see Technique.

Defence of Poetry, A, Shelley, 25.

Defense of Poesie, The, Sidney, 23.

Definiteness of the artistic imagination, 232, 234.

Definition of Poetry, why evaded, 12-15; is possible, 15-17; and see Poetry.

De Foe, 138.

Delaroche, H. [Paul], painter, 10.

De l'Isle, Rouget, La Marseillaise, 266.

Deluge, The, Sienkiewicz, 137.

De Quincey, 58.

Derby, Lord, 82.

De Rerum Natura, Lucretius, 212, 217.

Descriptive Poetry, word-painting of Spenser, Keats, Tennyson, etc., 67-70; landscape a background to life, 177; not very satisfactory, 202; inferior to painting, ib.; when subjective, 202-204; and see 189, 195, 196, also Poetry and Nature.

Deserted Village, The, Goldsmith, 268.

Detail. See Technique.

Dickens, his prose and verse, 57; quoted, 282; and see, 137, 283.

Diction, of the past, 34; Hugo's, 120; English, 215; the modern vocabulary, 225; imaginative mastery of words, epithets, phrases, 240-242; verbal felicity of Shakespeare, Milton, Keats, Byron, etc., 240, 241,—of Emerson, 242; Fancy's epithets, 248; majestic utterance in "Hyperion," etc., 248; and see Language.

Didacticism, of minor transcendentalists, 24; Coleridge's metaphysical decline, 125; the "didactic heresy," why opposed to true poesy, 187, 188, 213; the "higher" and philosophical, 211-213; poetry of wisdom, 211; Ecclesiastes, ib.; the Greek sages, Lucretius, Epicurus, Omar, Tennyson, etc., 212, 213; Pope as a moralist-poet, 213-215; of the commonplace, 219; and see Truth, Ethics, etc.

Dilettanteism, 8, 133.

Dimension, effect of magnitude in art, 247.

Dimitri Rudini, Tourgénieff, 137.

Directness. See Style.

Divina Commedia, Dante, 112-115; charged with its author's personality, 113; symbolism of, 114; compared with "Paradise Lost," 115; and see 269, 291.

Dobson, Austin, 94, 158.

Don Juan, Byron, 19, 123.

Donoghue, J., sculptor, 13, 200.

Don Quixote, Cervantes, 239.

"Dora," Tennyson, 193.

Doré, G., painter, 239; quoted, 255.

Doubt. See Faith.

"Dover Beach," Arnold, quoted, 295.

Drake, J. R., 236, 237.

Drama, The. Grand drama the supreme poetic structure, 105-107; analysis of The Tempest, 106; impersonality of the masters, 107; modern and subjective, of Browning, 108-110; Browning's genius and method, 108; the modern stage, 110; adaptation to the stage, ib.; Jonson on the stage, ib.; Swinburne's plays, 132; meretricious plays, 216; the grand drama again, 274; modern plays, society-drama, etc., 274, 275; and see Elizabethan Period, Greek Dramatists, etc.

Dramatic Lyrics, Browning, 109.

Dramatic Poetry, its narrative may well be borrowed, 57, 237; Shakespeare, Browning, Keats, Shelley, 69, 191, 243; text of, 191; Elizabethan dramatists, 75; epical drama of Job, 86; youthful poems of dramatists, 101; Aristotle on Tragedy, 103; why tragedy elevates the soul, 103, 104, 271, 272; Greek recognition of Destiny, 104; dramatists of Christendom, ib.; the dramatic genius, ib.; Shakespeare and impersonality, 104, 105; Faust, 119; Shelley's, 124; truth to nature, 189, 190,—to life, 191; the Attic, 191; Webster's Duchess of Malfi, 249; display of passion's extreme types, 271-273; exaltation of, 271; Browning's types of passion, 272; effect of contrasts, 273.

Dramatic Quality, of Browning's lyrics, etc., 109; evinced of late in prose fiction rather than in poetry, 137, 138; and see The Drama.

Dramatists. See The Drama and the Greek Dramatists.

Dramatists, the Greek, 97-100; ethical motive of, 97; their objectivity, ib.; the Attic stage, 99; grand drama as an imaginative transcript of life, 101-104; impersonal, ib.; follow the impartial law of nature, 102; and see 113.

Drayton, 94; quoted, 245.

Dryden, Aristotelian view of poetry, 18; quoted, 261; and see 162, 172, 250.

Du Bellay, 171.

Dumas, Père, 138.

Duran, C., painter, 9.

Dürer, A., artist, his "Melencolia" as the Muse of Christendom, 140, 141.

"Dying Christian, The," Pope, 214.

"Each and All," Emerson, 220, 221.

Earthly Paradise, The, Morris, 131.

Eccentricity, 109.

Ecclesiastes, 211.

Edda, The, 131.

Edison, T., inventor, 32.

Education, the higher and ideal, 4.

Egoism, the Parnassian, 80; and see 140, also Subjectivity.

Elaboration, undue, 193.

Elegiac Poetry, Grecian epitaphs, the anthologies, etc., 88, 89; the Greek idyllists, 89, 90; English elegies, 90; Ovid, 92; Latin feeling, 92, 93; Emerson's "Threnody," 267.

"Elemental" Quality, 250-254; Wordsworth's, 251; of the Hebrews, Greeks, and modern English, ib.; the American, 252, et seq.; Bryant's, 252; Stoddard's and Whitman's, 252, 253; of some other poets, 253, 254.

"Eliot, George" (Mrs. Lewes-Cross), 137.

Elizabethan Period, songs from the dramatists, 170; poets of, their truth of life and character, 191; its imagination, 249; and see 75, 100, 105, 227; also The Drama and Dramatic Poetry.

Elliott, Ebenezer, quoted, 126.

"Eloisa to Abelard," Pope, 214.

Eloquence, sometimes injurious to poetry, 59.

Emerson, on inspiration and insight, 23, 24; anecdotes of, 130, 153; his words and phrases, 242; on beauty and joy, 267; his "Threnody," ib.; on beauty, 149, 150; quoted, 130, 220, 221, 296; and see 35, 39, 50, 58, 75, 134, 136, 203, 213, 290.

Emotion, Wordsworth on, 20; Watts on, 26; the poet must be impassioned, 49; instinctively forms expression, ib.; its suggestion by music, 66; present call for, in art, 211; "uttered," 262, 263; and see Passion.

Empedocles, 212.

Empiricism, its service to the modern poet, 32.

Encyclopedia Britannica, article on Poetry, Watts, 26.

Endurance, the test of art, 166 et seq.; natural selection, 166, 167; of classic masterpieces, 168; of certain English poems, 170-172; "Ars Victrix," 173; transient aspects to be avoided, 201; of Shakespeare, 230, 231.

Endymion, Keats, quotation from its Preface, 122.

English Language, King James's Version of the Bible, 85; and see Diction.

English Poetry, and the imagination, 249, 250.

English Poets, Ward's, 249.

Environment, effects of, in youth, 9, 10; truth to, 199-201; of the Antique, 199; a lesson from Lowell, 200; home fields for art, ib.; transient conditions inessential, 201; one defect of Taine's theory. 276.

Epic Poetry, as evolved from folk-songs, 94, 95; the Homeric epos, 95-97; less inclusive than dramatic, 106; Firdusi's Shah Nameh, 111; the Divine Comedy of Dante, 112-115; Milton's Paradise Lost, 115-117; Arnold's epical studies, 133-135; Walter Scott, 135; simplicity of, 194; a growth, 237; and see Objectivity.

Epicureanism, 217.

Epicurus, 212.

Epigram, Latin, 92.

Equanimity, modern, 274.

Esther, The Book of, 175.

Ethics, of Homer, 95; truth of ethical insight, 216-219; the highest wisdom, 216; a prosaic moral repulsive and unethical, 216, 217; affected conviction, 216; why baseness is fatal to art, ib.; all great poetry ethical, 217,—and this whether iconoclastic or constructive, ib.; Shelley and his mission, 218, 246; and see Truth.

Euripides, his modern note, 88; and the Greek drama, 99; and see 137.

Evanescence, the note of, 181-185.

Eve of St. Agnes, The, Keats, 177.

Evolution, 287; and see Science.

Exaltation, national, 83; dramatic, 271.

Excursion, The, Wordsworth, 206.

Execution of the true artist, 235.

Executive Force, guided by the imagination, 228, 229.

Expression, chief function of all the fine arts, 44; as the source of beauty, 152; need of a free vehicle, 214; moved by imagination, 257; its poetic factors, 259; perfected by emotion, 261; should be inevitable, 274.

Ezekiel, quoted, 287.

Facility, undue, 235.

"Faculty Divine, The," so called by Wordsworth, 259; what it includes, 277.

Fairfield, F. G., neurotic theory of genius, 284.

Faith, the scientist's grounded in knowledge only, 33; and science, Lowell on, 37; Judaic anthropomorphism, 83; its indispensability, 280-296; recent lack of, ib.; distrust and cynicism, 289; works for distinction, 289-291; its poetic masterpiece, the Church Liturgy, 291-294; unrest of Arnold and Clough, 294, 295; the new day, 295.

Fame, Palgrave on popular judgment, 136; the case of Burns, 265; of Byron, ib.

Fancy, "The Culprit Fay," 236; the realm of, 247, 248; and see 215, 254.

Fantasy, distinguished from imagination, 236.

"Farewell to Nancy," Burns, quoted, 265.

Fashion, effect of, 39; the temporary must be distinguished from the lasting, 166; poetic style of Queen Anne's time, 213, 214.

Faust, Goethe, Snider on, 95; subjectivity of, 137; and see 104, 119, 137, 238, 269.

Faustus, Marlowe, 238.

Feeling, classical expressions of, 83 et seq.; of Wordsworth, 263, 264; its quality illustrated, 264, 265; religious, national, etc., 266; more accurate than thought, 286; and see 147; also Passion.

"Feigned History," as a generic term for all imaginative literature, 56, 57.

Felicia, Fanny Murfree, 208, 209.

Female Poets, Sappho, 88; Mrs. Browning, 88, 128, 266; subjectivity of, 127; Miss Lazarus, 266; Miss Rossetti, 269.

Femininity, self-expression the minor key of song, 127.

Ferishtah's Fancies, Browning, 225.

Fiction, prose (including The Novel, Prose Romance, etc.), letter from A. S. Hardy, 36; distinguished from the poetry under consideration, 56-59; as "Feigned History," 56; invention as to plot, narrative, characterization, 57; must not be rhythmical, 57-59; inborn gift of the great novelists and romancers, 60; Howells', ib.; as the principal outcome of recent dramatic and creative faculties, 137, 138; great modern novels and novelists, 137; the chief literary distinction of the century, 138; functions of the novelist, 237; examples of reserved power, 273.

Fielding, 60.

Fine Arts. See Arts, The Fine.

Finish. See Technique.

Firdusi, 111.

"Fitness of Things, The," 45, 156.

Fitzgerald, E., 82, 217.

Flavor, natural, 180.

Fletcher, J., 171.

"Flood of Years, The," Bryant, 252.

Folk Songs, 176; of Ireland and Scotland, 180; and see Ballads.

Force, that of poetry, 3,—not exerted by mere intellect and culture, 60; ethical, 217; as the vital spark, 259; and see Introduction.

Ford, John, 108.

"Forgiveness, A," Browning, 109.

Form, greatness of the dramatic, 107; English measures, 215; and see Construction and Technique.

Forman, H. Buxton, a phrase of, 52.

Formlessness of outline, its poetic effect, 246.

Foscolo, 133.

Fourier, C., 9.

Freedom of the poet's field, 220.

French Poetry, 18.

French Revolution, effects of, 123, 215.

French School, influence of the recent, 226.

Fuller, George, painter, 246.

Fuller, Margaret, anecdote of, 50.

Future, promise of the, 296.

Galileo, 33.

Galland, Orientalist, 82.

"Gaspar Becerra," Longfellow, 220.

Gautier, Th., paraphrased by Dobson, 173; and see 120, 130, 179, 290.

Gebir, Landor, 205.

Genius, finds its natural sustenance, 10; vindication of, 46,—by Plato, ib,; scientifically defined by Hartmann, ib.; "poeta nascitur," 53; "a born lawyer," etc., 56; its methods imitable through industry and culture, 59-61; the dramatic, 104; the real test of poetry, 139; self training of, 145; its individuality the sole value of art, according to Véron, 152, 153; natural bent of, is unchangeable, 220; has a law of its own, 247; the question of its existence and nature, 276-285; recognition of, 277; as an inherent gift, ib.; Carlyle, Lowell, and Howells on, 278; distinguished from talent, 279,—from taste, 280; congenital, 281, 282; is original, 283; not dependent on theme, ib.; often limited, ib.; the universal type, health of, 284; its good sense, 284; should be obeyed by its possessor, 284, 285; its spontaneity, 285; inspiration of, 287; and see 147.

Georgian Period, 55, 116, 125, 138, 225, 227, 250.

Gérôme, painter, 239.

Gerusalemme Liberata, Tasso, 112.

Gesta Romanorum, 131.

Gilder, R. W., quoted, 257.

Gildersleeve, Basil L., 100.

Gnomic Poetry, 75.

Goethe, "Wertherism," 121; Heine's criticism of him and of Schiller, 18; and the Romantic movement, 119; Arnold's study of, 133; on art, 201; on epic and dramatic poets, 237; quoted, 64, 142, 143, 247; and see 54, 58, 76, 113, 118, 168, 263, 269, 290; and see Faust.

Golden Ages, 78.

Golden Treasury, The, Palgrave, 136, 172.

Goldsmith, 172, 250, 268.

Gosse, quoted, 111.

Gothic Art and Song, 159.

Grace, 179; and see Charm.

Gray, 172, 250.

Greek Bucolic Poets, 169.

Greek Dramatists. See Dramatists, the Greek.

Greek Lyrists, 169.

Greeks, The. See The Antique, Objectivity, etc.

Gregory VII., Horne, 104.

Grotesque, The, 160.

Guy Mannering, Scott, 137.

"Hamadryad, The," Landor, 200.

Hamlet, Shakespeare, 102, 104.

Harris, W. T., inspirational view of poetry, 23; and see 174.

Hartlib, S., Milton's friend, 27.

Hartmann, E. von, metaphysician, on genius, 46, 282; on the idea in art, 156.

Hawthorne, 137, 218, 273.

Haydon, B. R., painter, on art, 201.

Hazlitt, W., logical view of poetry, 25; cited, 207, 208.

Health, recoverable in poetry, 295.

Hebraism, 99, 290; and see Bible, Poetry of the.

Heine, compared with Byron, 125; character and genius, 126; his mocking note, 127; quoted, 112; cited, 140; and see 135, 142, 203, 208.

Hellenism, Landor, 124; compared with Latinism, 90, 91; effect on Vergil, 91; Poetry of Greece, 87-90, 95-100; the Greek lyrists, 87; the anthology, etc., 88, 89; idyllists, 89, 90; the Homeric epos, 95-97; the Attic dramatists, 97-100; antique view of tragedy, etc., 103, 104.

Henry Esmond, Thackeray, 55, 137.

Heredity of genius, 277.

Herodotus, 169.

Heroic poetry, Horace's view of, 18.

Herrick, 168, 171.

Hesiod, and Vergil's Georgics, 91.

"Highland Mary," Burns, 265.

Hindu Literature, 81, 82.

Hoffmann, Ernst, 142.

Holinshed, chronicler, 57.

Holmes, quoted, 281.

Homer, Lord Derby's version, 82; Vergil's obligations to, 91; Snider's ethical theory of the Iliad and Odyssey, 95; his joyous and perfect transcript of life, 96, in; highest value of, 97; modern "Homeric Echoes," 134; Arnold on the swift epic movement, 134; descriptive touches of, 190; ethics, 217; endurance, 230; impassioned characters, 270, 271; quoted, 194; and see 78, 100, 106, 191, 236, 251, 269, 290.

Hood, a poet of emotion, 265.

Horace, concerning poetry, 17; progenitor of the beaux esprits, 93; and see 27, 169.

"Horatian Ode, An," Stoddard, 239.

Horatii, The, 93.

Horne, R. H., Gregory VII., 104; dramas of, 132; and see 29, 133.

Household Book of Poetry, The, Dana, 236.

House of Life, The, Rossetti, 269.

Howe, Julia Ward, 267.

Howell, Elisabeth Lloyd, 266.

Howells, W. D., as illustrating both natural gift and training, 60; on recent Italian poetry, 128, 129; on genius as "natural aptitude," 278.

Hugo, V., Hernani, 104; and the Romantic movement, 119; and see 18, 133, 142, 269, 287, 290.

Human Element, The, 269; of the Liturgy, 292 et seq.

Humor, as a pathetic factor, 215; and see 123, 275.

Hunt, Leigh, on poetry, 25; cited, 239; quoted, 243; and see 119, 173, 179, 225.

Hutchinson, Ellen M., quoted, 182.

"Hymn, before Sunrise," Coleridge, 266.

"Hymn to Aphrodite," Sappho, 88.

Hyperion, Keats, its large utterance, 248; quoted, ib.

Ibsen, 42.

"Ichabod," Whittier, 268.

Idealist, The, how affected by the new learning, 34-37.

Ideality, its bearing on individual action, 3-5; present struggle with empiricism, 34-39; the "shews of things" are real to the poet, 153; characterizes true Realism, 199; opposed alike to prosaic goodness and to vice, 216; against impurity, 262; present want of, 274.

Ideals, racial and national, 159, 162-165; the Aryan, 159; Academic, 161; the Japanese, etc., 162-165.

Ideal, the artist's, what constitutes it, 41.

Idyllic Poetry, Keats, Tennyson, etc., 68, 69; of the Bible, 87; Ruth and Esther contrasted with Anna Karénina, 175; Tennyson's method, 193; recent idyllic period, 210, 211; Snow Bound, 268; over supply of, 275.

Idyllic quality, 225.

"I have loved flowers that fade," Bridges, 185.

Iliad, The. See Homer.

"Il Penseroso," Milton, 116.

Imagery, when outworn, 34; of poets, Joubert on, 235.

Imagination, sovereign of the arts, 5; its office fully recognized by Wordsworth and Coleridge, 20, 21; Schopenhauer on, 21; indispensable to the savant, 32; the savant's akin to the poet's, 36; increased material for, 38; the dramatic, 104; nothing forbidden to it, 201; glorifies Shakespeare's errors of fact, ib.; of the intellect, 211; freed by a free rhythm, 214; considered as the informing element of poetic expression, 225-258; lack of, in recent poetry, 227; chief factor in human action, 228; the executive, 229; the poetic, ib.; Shakespeare's, 229-231; definition of, 231,—illustrations of same, 232-235; how to test it, 232; must be clear, ib.; must have "holding power," 233; of Blake, ib.; definiteness of, 234; not confined to the superhuman, 236; its higher flights, 236, 237; when inventive and constructive, 237; when purely creative, 237, 238; its Wonderland, 238; its power of suggestiveness and prevision, 239; imaginative diction, 240-242; of the supernatural, 243, 244; sublimity of the Vague, 244-247; of Shelley, poet of cloudland, 246; effect of magnitude on the, 247; how distinguished from Fancy, 247; "the grand manner," 248; of the Elizabethans, 249; usually deficient between the Elizabethan and Georgian periods, 250; comparison, association, etc., 250; of "elemental" bards, 250-254; divinity of this creative gift, 254-258; as used and excited by emotion, 261; imagined feeling, 273; promised revival of, 296; and see 147, 166.

Imitation, normal in youth, 13; how far the office of art, 17; Vergil's, of the Greek poets, 91; Longfellow's, 91, 92; Schlegel on, 92; the greatest work inimitable, 109; servile, not true realism, 197, 198.

Immaturity, posing of Heine's youthful imitators, 127; and see Training.

Immorality. See Ethics.

"Impassioned," its meaning, 261.

Impersonality. See Objectivity.

Impressionism, of the Nineteenth Century poets, 118; true, 144; how allied to transcendentalism, 149; its value and defects, 150; and see 153.

Individuality, of certain writers, 58; of style, 80; Longfellow's specific tone, 92; Browning's, 108; its loss means death in art, 144; national, how lost, 164; the poet's distinctive voice, 297; and see Subjectivity.

Industry, differentiated from faculty, 46; of men of genius, 278.

In Memoriam, Tennysor's, 55, 212, 225, 270.

Inness, G., painter, 246.

Insight, the poet as a seer, 22-24; preceding demonstration, 37; the source of revelation, 45,—Plato and Wordsworth on, ib.; allied with genius, 46; the celestial, 65; the Miltonic, 116, 117; nature of, 285; as inspiration, 287; and see 147.

Inspiration, as a poetic factor, according to Plato and his successors, 21-24, 46; Zoroaster on, 22; Hebraic, 75; pseudo, 235; belief in direct, 287; the prophetic, 287; and see 147.

Instinct, 284.

Intellectuality, Browning's, 109; Milton's learning, 116; poetry of wisdom and morals, 211-215; and see Thought.

Intelligibility, 236.

Intensity, of emotion, 261; the dramatic, 273.

Interpretation, of nature, see Section VI., passim; Wordsworth, Bryant and the American School, 195; Whitman's and Lanier's, 195, 196; subjective, of Nineteenth Century poets, 202-204; the pathetic fallacy, 204-210; and see Revelation, Insight, etc.

Interpretative Faculty, 26; and see Insight, etc.

Inter-Transmutation of certain poetic styles, 215.

Introduction. Account of the origin, purpose and method of the present treatise, pp. vii-xvii.

Introspection, conventual, 140; and see Subjectivity.

Intuition, unconscious process of the soul, 147; superior to logical process, 157; should be obeyed, 284; woman's, 286.

Invention, fiction its modern outlet, 137, 138; an imaginative function, 237.

Ion, Euripides, 99.

Irony. See Satire.

Irreverence, dangers of artistic, 158.

Isabella, Keats, 239.

Isaiah, 236.

Island, The, Byron, 206.

"Israfel," Poe, 73.

Italian influence, 162.

Italian poetry, English obligations to, 115; of modern Italy, 128.

James, G. P. R., novelist, 137.

James, H., novelist, 192.

Japanese, the, artistic method of, 31; their literature, 81; antipodal art ideals of, 162-165; they recognize fitness and ideal beauty, 162, 163; danger menacing their individuality, 164; assimilative tendency of, 165.

"Jeanie Morrison," Motherwell, 265.

Job, The Book of, its grandeur and impersonality, 86; quoted, 244; and see 36, 104, 113, 236.

Johns Hopkins University, its origin and founder, 3, 4; and see 61, 93.

Johnson, Dr., 14.

Jones, Sir William, 82.

Jonson, Ben, on language, 51; on the English stage, 110; plays and songs of, 170; and see 250.

Joubert, critic, 15, 135; quoted, 143.

Joy of the poet, 267.

Judaism. See Bible, Poetry of the.

Judgment, 284.

Julius Cæsar, Shakespeare, 104.

Keats, quoted, 67; as an artist-poet, 68, 69; dramatic promise of, 69, 110; his place in English poetry, 110; on immaturity, 122; creative works of, 124; on beauty and truth, 187, 220; imaginative diction of, 241; his style, 248; on intensity, 262; quoted, 182; and see 10, 60, 75, 116, 119, 133, 172, 173, 177, 193, 225, 239, 255.

Kepler, astronomer, quoted, 155.

Kingsley, Hypatia, 118.

"Kubla Khan," Coleridge, 125.

La Farge, J., artist, cited, 78, 79; on Japanese Architecture, 163.

Lake School, The, 33.

"L' Allegro," Milton, 116.

Lamartine, 120.

Lamb, C., 162, 170.

"Land o' the Leal, The," Lady Naime, 265.

Landor, creative works; 124; his "sea-shell," 205, 206; cited, 18; quoted, 184, 204, 239, 241, 247; and see 58, 82, 133, 135, 179, 200, 203.

Landscape. See Descriptive Poetry, Nature, etc.

Lang, A., renderings from the Anthology, 89; and see 82.

Language, its efficacy to express ideas, 15, 16; poetry absolutely dependent on, for its concrete existence, 50; Ben Jonson on, as speech, 51; must become rhythmic to be minstrelsy, 51-55; "idealized language," 52; vibratory power of words, 52; a test of genuineness, 54; speech a more complex music than music itself, 72, 179; the Hebrew, 87; the genius of our English tongue, 214,—its eclecticism and increase, 215; and see Diction.

Lanier, compared with Whitman, 196; his imagination, 253; musical genius of, 282; his work tentative, ib.; and see 62, 158.

Laocoön, Lessing, 66.

Latinism, sentiment of Latin poets, 90-94; Vergil and his modern countertypes, 91; Ovid, Catullus, etc., 92; Tu Marcellus eris, 93; Horace and the Horatii, 93, 94.

Law, natural, the working basis of all art, 6-8; poetic, 62.

Lay of the Last Minstrel, The, Scott, 131, 238.

Lazarus, Emma, 266.

Learning, the New, 34; and see Science.

Lee-Hamilton, E., sonnet by, 206.

Leighton, Sir F., painter, 279.

Leopardi, 133.

Les Précieuses, Molière, 100.

Les Trois Mousquetaires, Dumas, 137.

Life, conduct of, 5; the poet supreme among artists in the portrayal of, 70, 71.

Life School, prospective rise of a, 211.

Light of Asia, The, E. Arnold, 82, 235.

Limitations, of specific genius, 80, 283; charmingly observed by the Horatii, 94; and see 288.

Lincoln, Abraham, 143.

"Lines to an Indian Air," Shelley, 266.

Liszt, musician, 9, 232.

Literary eras. See Periods, literary and artistic.

Liturgy, The Church, as a literary masterpiece of Faith, 291-294; its universal and human quality, 292; symphonic perfection, 293; its uniqueness, ib.

"Local" Flavor, Lowell's taste for American lyrics, 200; a home-field for our sculptors, ib.

"Locksley Hall," Tennyson, 270.

Lodge, O. J., physicist, 35.

Lombroso, C., a theory of, 284.

Longfellow, the New World counterpart of Vergil, 91; "Gaspar Becerra," 220; his national poetry, 268; quoted, 30, 260; and see 136, 203, 225, 235, 289.

Longinus, cited by Dryden, 18.

Long Poem, A, is the designation a misnomer? 178.

Lorna Doone, Blackmore, 137.

"Lost Occasion, The," Whittier, 268.

"Lotos-Eaters, The," Tennyson, 177.

Love as a master-passion, 260.

Lovelace, R., 167, 171.

Lowell, on faith and science, 57; on Addison and Steele, 100; his national sentiment, 129; his truth to nature, 190; his respect for "local" flavor, 200; on our view of nature, quoted, 207; verbal aptness of, 242; Odes, 267; on talent and genius, 278; quoted, 144, 180, 188; and see 4, 27, 136, 162, 195, 203, 213.

Lucile, Lytton, 237.

Lucretius, 75, 91, 212, 217.

"Lucretius," Tennyson, 270.

Lusiad, The, Camoëns, 112, 244.

Lyall, Sir A., quoted, 182.

"Lycidas," Milton, 90, 116; quoted, 102.

Lyrical Ballads, Wordsworth and Coleridge, 21.

Lyrical Poetry, not always subjective, 83; the Davidic lyre, 84, 85; early alliance with music, 85; the Greek lyrists, 87, 88; Catullus, et al., 92; Horace and his successors, 93; primitive ballads, etc., 94; songs of the drama, 105; Ariel's songs, 107; characteristics of the pure lyric, 178-180; and see 264, 265, also Songs and Lyrics.

Lytton, Robert, Lord, Lucille, 237.

Macaulay, on poets as critics, 12

Macpherson, 58.

Mahaffy, J. P., scholar, 88.

Manzoni, 210.

Marlowe, 167, 238, 249.

Marmion, Scott, 131, 135.

Marseillaise, La, De l'Isle, 266.

Martin, Homer, painter, 246.

Martineau, Harriet, quoted, 76.

Mary Stuart, Swinburne, 132.

Masculinity, impersonality the major key of song, 127.

Masque of the Gods, The, Taylor, 254.

Masque, The (Elizabethan), 107.

Masterpieces, appeal to the public and the critical few, 197; the Church Liturgy, 291 et seq.

Masters, the, their influence on youth, 10.

Materialism, 3; Whitman on, 38.

Materials, poetic, not a substitute for imagination, 235.

Maxwell, C., scientist, 35.

Mediocrity of followers in art, 151.

"Meditations of a Hindu Prince," Lyall, 182.

Meleager, 89.

"Melencolia," Dürer, 140 (and see Frontispiece).

Melodramatic quality, Hugo, 119.

Melody, as heard or symbolized, 174; of speech and of music, 179; the "dying fall," 183.

Men and Women, Browning, 109.

Menzel, critic, cited, 118.

Meredith, G., 42, 137.

Metaphysics, hostile to a true æsthetic, 149; effect upon Coleridge, 239; and see Didacticism.

Michelangelo, 50, 101, 233, 247, 272.

"Midsummer Meditation, A," Gilder, 257.

Midsummer Night's Dream, Shakespeare, 189, 201, 248.

Mill, J. S., on philosophy, 16; on poetry as emotion, 19, 20; on feeling and rhythm, 55; on the novelist and the poet, 138; on feeling and thought, 261; and see 178.

Millais, Sir J., painter, 279.

Miller, "Olive Thorne" [Harriet M.], 62.

Millet, J. F., painter, 10, 255.

Milton, his poetic canon, 27, 49, 260; tractate On Education, 27; as a Copernican, 35; his prose, 59; early poems of, 168; Comus, 236; his Satan, 238; his imaginative words and phrases, 240 et seq.; his imagination, 245; quoted, 53; and see 58, 76, 90, 113, 172, 193, 226, 248, 250, 269, 287, 290.

"Miltonic," 240.

Miltonic Canon, the, its constituent of passion, 260, 261; and see 27, 49.

"Milton in his Blindness," Howell, 266.

"Mimnermus in Church," Cory, 183.

Minor Poets, 80; the creative masters in youth, 101; recent, their merits and defects, 136, 226, 227, 254; the new art-school, 173.

Mirth, 275.

Mixed type, poetry of the, 113, 114.

Molière, 100, 283.

Moore, T., states the Byronic creed, 19.

Monet, Claude, painter, 158.

Monodramas, 109.

Monticelli, painter, 158.

Moralism. See Didacticism, etc.

More, Henry, quoted, 286.

Morris, W., contrasted with Walter Scott, 131; and Chaucer, 170.

Moschus, paraphrase on a passage in Job, 90; Epitaph on Bion, 90.

Motherwell, W., 266.

Motive, recent lack of, 289.

Mozart, musical genius of, 281.

Murfree, Fanny N. D., novelist, quoted, 208, 209.

Music, as a sensation, 15; Lanier's devotion to, 62, 282; its range and limits of expression, and as compared with poetry, 64-66; special functions, 64; is it the highest art? ib.; Poe on, 65; Schopenhauer and Spencer on, 65; expresses feeling, not thought, 66; its effect on the rhythm, etc., of the Hebrew psalms, 85; philosophy of, 179; the musician's memory, 232; and see 264.

Musset, 120, 290.

Muybridge, E. J., his instantaneous photography, 198, 199.

Myers, F. W. H., on genius, 282.

"My Last Duchess," Browning, 109.

"My Maryland," Randall, 266.

Nairne, Lady, 264.

Naïveté, of the Psalms, etc., 85; and see 180, also Naturalness.

Narrative poetry, inferior in realism to dramatic, 107; see Objectivity.

National sentiment, the modern Italian, 128; of American verse, 129.

Naturalism, 197; the true, 273.

Naturalness, excellence of genuine feeling, 142; return of, 173; makes for simplicity, 176; affectation of, 177; method should seem unconscious, 193; and see 264.

Nature, trains the poet, 10; Milton's treatment of, 116; normal beauty of, 156, 157; poetry of, from Wordsworth and Bryant to Lanier, 194-196; subjective in recent times, 202-204; the modern return to, 204; does she give solace and sympathy? 204-209; full of motion and unrest, 208; the sovereign of modern art and song, 210; her triumph too prolonged, 211; universally set forth by Shakespeare, 229; and Wordsworth's similes, 250.

Neo-impressionism, 153; and see Impressionism.

Neo-Romanticism, 130.

"Neurotic disorder," the question of, 284.

Newcomes, The, Thackeray, 137.

Nibelungen Lied, 131.

Nineteenth Century, literary eminence of, 138; its idealization of Nature, in art and poetry, 210; Wordsworth's place in, 219.

Norse poetry, sages, 78.

Notre Dame de Paris, Hugo, 137.

Novalis, 142.

Novel, the, and Novelists. See Prose Fiction.

Novels in verse, 237.

Novelty, romantic effect of strangeness, 151; stimulates zest, 160.

Objectivity, creative and impersonal poetry, 75-110, passim; absolute vision, 77, 78; creative eras, 79; of the Book of Job, 86; the Hebrew idyls, 87, 175; primitive ballads, 94; charm of, in the antique, 96, 97; the Greek drama, 97-101; the dramatic genius, 104; impersonality of the old masters, 107; Homer, 111; Chaucer, 115; Burns, 120; its restorative charm, 121; of certain productions of Shelley, Keats, Landor, 124; masculine, and in the major key, 127; pseudo-impersonality of artistic recent verse, 130, 131; Walter Scott, 131; 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 Poetry as the lyrical expression of Emotion, 19, 20, 262; exalted national feeling, 83; intensity of Hebraic emotion, 83-85; Sappho, 87, 88; of Mrs. Browning's sonnets, 128; "Eloisa to Abelard," 214; subdued in modern poetry, 227; as the force and excitant of imaginative expression, 257, 260-276; required by the Miltonic canon, 27, 260, 261; defined, ib.; not love alone, 260; as intense emotion, 261; its use of imagination, ib.; must be genuine and pure, 262; modern understanding of, 262, 263; of Wordsworth, its limits, 263; as Feeling and Sentiment, 264, 265; of women poets, 266; of ardor, joy, grief, etc., 266-268; Whittier's, 268; as art's highest theme, ib.; its human element, 269; Tennyson's, in youth and age, ib.; creation of its objective types, 270-272; exaltation through intense sensations, 271, 272; reserved power of, 273; absolute dramatic, 273, 274; its occasional lulls, 275; excited by great occasions, 276, 288; of the cries of Faith, 292; and see 5, 166, also Emotion, Feeling, and The Romantic School.

Pastoral Verse. See Greek Bucolic Poetry, Nature, Idyllic Poetry, etc.

Pater, W., quoted, 159.

"Pathetic Fallacy," the, Ruskin's phrase and explanation, 204; consideration of, 204-210; whether our feeling concerning nature is an illusion, 205; illustrated by Landor and Wordsworth's treatment of the sea-shell's murmur, 205, 206; Lee-Hamilton's sonnet on, 206; Lowell on, 207; the "illusion" likely to be cherished, 209.

Patrician Verse, "The Rape of the Lock," 214.

Pattison, Mark, on poetical prose and the prose of poets, 58; quoted, 268.

Payne, John, 82.

Pentameron, The, Landor, 125.

Percival, J. C, 190.

Père Goriot, Balzac, 137.

Pericles and Aspasia, Landor, 124, 125.

Periods, Literary and Artistic, how to determine their quality, 226; reactionary, 275; the older American, 276; heroic, culminating, etc., ib.; and see Alexandrian Period, Composite Period, Elizabethan Period, Georgian Period, Queen Anne's Time, Victorian Period, etc.

Persia, Poetry of, 111.

Personality. See Subjectivity.

Pessimism, 291.

Pheidias, 150.

Philip Van Artevelde, Taylor, 104.

Philistinism, British, 123; Heine's revolt against, 126; and see 222, 290.

Philosophical Poetry,—that of wisdom and ethics. See Didacticism, Ethics, and Truth.

Photographic Method, lessons taught by Muybridge's camera, 198, 199; not to be closely followed, 199; and see Realism.

"Pied Piper, The," Browning, 215.

Pilot, The, Cooper, 137.

Pindar, not strictly subjective, 83, 87; and see 87, 142, 251.

Pippa Passes, Browning, 55.

Plato, and Aristotle, 17; his conception of poetry and the poet, 21-24; "The Republic," 21; a poet-philosopher, 22; his pupils, 22-24; on insight, 45; on inspiration, 46; and modern transcendentalism, 149; and see 20, 57.

Platonism, its drawbacks, 24; and see Plato.

Plautus, 100.

Plot, 174.

Plotinus, 23.

Poe, on the form of words, 15; definition of poetry, 26, 151 et seq.; on music, 65; quoted, 73; his passion, 267; and see 133, 178, 183, 242, 283.

Poet, the, his freedom, 20; Platonic idea of, 21; Plato's banishment of, from The Republic, 21, 22; his two functions, 28 et seq.; how affected by the new learning, 34-36; compared with the savant, 36, 37; his province inalienable, 38; a creator, 44; a revealer, 45; his power of expression, 47; his wisdom, 48; sensitiveness, 49; must be a born rhythmist, 53; as a writer of prose, 57, 58; pseudo-poets, 60; must be articulate, 62; Lessing on, 71; may use all artistic effects, ib.; Emerson, 149; a phenomenalist, 155, 156; sees and restores the beautiful, 157; expresses his true nature and his work, 167; his youthful passion for the beautiful, 168; his rendering of nature, 188 et seq.; cannot depict landscape like the painter, 202; nature's subjective interpreter, 202, 203; the coming poet, 211; Pope 213, 214; Shelley, 218; his final recognition of beauteous verity, 220, 221; his religious point of view, 221-223; an anecdote, 234; Joubert on the true poet, 235; rarely a sensualist, 246; his imaginative realism, 254; his godlike creative gift, 256, 257; his vital spark, 259; Mill on, 261; Poe and Emerson, 267; "of the first order," 268; his line of advance, 269; Stendhal on, 272; how begotten, 276; elder American poets, ib.; must have the "faculty divine," 277; genius of, 277-285; Carlyle on, 278; originality of, 283; his noble discontent, 286; the Vates, 287; his modern distrust, 288 et seq.; his station higher than the critic's, 297; and see Female Poets, Poetry, Ποιητής, etc.

Poetic Principle, The, Poe's lecture, 26.

Poetry, as a force in human life and action, 3; why sometimes esteemed too lightly, 5, 14; to be observed scientifically, 6,—and in the concrete, 8; why its definition is needed, 8; it is vocal, 9; as a sensation, 15; historic views and definitions of, 17-28; the antique view, Aristotle, Horace, 17; Chapman, Dryden, Landor, Goethe, 18,—Arnold, 19,—traversed by Heine, 18; the Romantic, or Emotional view, 19, 20,—Byron, Moore, Mills, 19,—Bascom, Ruskin, 20; not opposed to Prose, ib.; stress laid upon Imagination by Wordsworth and Coleridge, 20,—by Schopenhauer, 21; the Platonic view,—Plato in "The Republic," etc, 21 et seq.; Zoroaster cited, 22,—Cicero, 22,—Bacon, Sidney, Plotinus, Carlyle, Emerson, Harris, 23, 24; partial failure of all statements, 24, 25; clearer modern views,—the artistic, Hazlitt, Hunt, Shelley, Watts, 25, 26, 28; the æsthetic view,—Poe, 26; a phrase of Milton, 27,—of Arnold, 27; the statement still incomplete, 28; poetry as the antithesis to Science, 28, what this means, ib.; illustrated, 29, 30; effect of exact science on, 33, 37; Professor Hardy's view of, 36; Tyndall on, 39; Defined and examined in relation to the other Fine Arts, 41-73; the present a fit time for its consideration, 42; its spirit not reducible to terms, 42; a force, 43, which enters the concrete, ib.; Definition of Poetry in the Concrete, 44; a creation, through invention and expression, 44; a revelation, through insight, 45, 46; as an expression of beauty and truth, 46-48; as an expression of intellectual thought, 48,—of emotion, 49; as eminently an art of speech, 50; its language essentially rhythmical, 51-56, 62; its vibratory thrills,—their rationale, 52; rhythmical factors of, 54; its rhythmical impulse spontaneous, and equal to the degree of emotion, 54, 55; how different from other forms of creative expression, 55,—from imaginative prose fiction, 56,—from rhetoric, eloquence, etc., 59; rhyme, etc., 56; often, however, may be cast in rhythmical prose form, 58; conforms to law, consciously or otherwise, 62; must be articulate, 62, 63; compared with music and the arts of design, 63-71; closely allied with music, 64; its achievements and limitations with respect to sculpture, 67,—to painting, 68; surpasses the rival arts by command of vocal movement, thus infusing Life, 69-71; compact analysis and summary of, 71, 72; universal range of, 75; divided into two main streams,—the impersonal, or creative, and the personal, or 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 needed, 211; of wisdom, the higher philosophical, 211-217; elements of humor in, 215; true, yet free, 219, 220; lack of imagination and passion in recent, 225-227; other modern traits of, 225, 226; the imaginative element in, 225-258; "spasmodic," 235; obscurity, ib.; its peopled wonderland, 238; suggestive, 239; diction of, 240 et seq.; supernaturalism in, 236, 243; of the Vague, 246; of Fancy, 247; English, 249; "elemental," 250-254; passion its incentive, 257; as product of "the faculty divine," 259-297; element of Passion in, 260-276; Wordsworth's statement of, 263; of Scotland, 264; of English sentiment, 265,—of American, 267, 268; of intense emotions and impassioned types, 270 et seq.; true naturalism of, 273; the absolutely dramatic, 274; of heroic crises, 276, 288; Genius, 277-285; Insight, Inspiration, etc., 285-288; of Prophecy, 287; Faith indispensable to, 288-294; of the Church Liturgy, 291 et seq.; future of, 296; concerning the study of, 296, 297; its present dissemination, 297; and see Introduction, passim, also Analytic Poetry, Bible, Christendom, Christianity, Descriptive Poetry, Dramatic Poetry, Elegiac Poetry, Epic Poetry, Gnomic Poetry, Heroic Poetry, Idyllic Poetry, Lyrical Poetry, Narrative Poetry, Norse Poetry, Orientalism, Reflective Poetry, Society-Verse, etc.

Poets of America, by the author of this volume: references to, 35, 101, 137, 160, 190, 211, 226, 246, 252, 268.

Ποιητής, Aristotle on, 17.

Pope, Byron on, 19; question of his genius, 213-215; his didacticism, 213; was he a poet? ib.; compared with modern leaders, 215; and see 116, 172.

Prayer Book, the Episcopal. See The Church Liturgy.

Pre-Raphaelitism, concurrent in various arts, 50; and see 158, 225.

Pretension of would-be genius, 280.

Prevision of the imagination, 239.

Primitive Poetry, sagas, folk-lore, ballads, etc., 78.

Prince Deukalion, Taylor, 254.

Princess, The, Tennyson, 237, 264.

Prior, 94.

"Problem, The," Emerson, 55.

Procter, B. W., 179.

Production, rather than motive, the test, 169.

Prometheus Bound, Æschylus, 98, 104.

Prometheus Unbound, Shelley, 124, 132.

Prophetic Faculty, the poet as Vates, 23; the Hebraic, 84; of Blake, 234; its vision, 285; and see 287, also Inspiration.

Prose, the antithesis of verse, 20; injured by use of poetic rhythm, 57, 59; the prose of poets, 58,—of various rhapsodists, ib.; the rhythmical prose form, ib.; Arnold's, 294; and see Fiction.

Protagonists of the grand drama, 104.

Provençal Poetry, 168.

Prudhomme, Sully, 131.

Psalms, the Hebrew, 84, 85.

Psychical Quality, 177.

Psychological School, 80.

Public Opinion, ultimate, to be respected, 277.

Purpose, must be earnest, 288, 289.

Puttenham, George, quoted, 198.

Quality, the grace of lyric poets, 178.

Queen Anne's time, 213, 214.

Quintus, 169.

Quotations, miscellaneous, 30, 90, 140, 222, 285, 296.

Race, 81; Latin traits distinguished from the Greek, 90; Latin quality and Gothic, 264; and see Hebraism, Hellenism, Japanese, etc.

Randall, J. R., 266.

"Randolph of Roanoke," Whittier, 268.

Rape of the Lock, The, Pope, 214, 215.

Raphael, 150; cited, 197.

Raphaelitism, Academic, 157.

Ratiocination. See Analytic Poetry.

Reaction. See Periods, Literary.

Realism, dramatic, 107; lacking in Milton's early poems, 116; and romanticism, 145, 199; and beauty, 150; descriptive details, 190; of the Elizabethan drama, 191; Whitman's, true and false, 196; not a display of facts, ib.; not a servile imitation, 197; Tennyson on, 198; must conform to human perceptions, 198, 199; photography, 199; should be idealized, ib.

"Reapers, The," Theocritus, 179.

Reason, or intellectual method, 284.

Recent Poetry, characteristics of, 288, 289.

Reflective Poetry, a modern type, 76; of Wordsworth, 189; of Nature, Wordsworth and Bryant, 194, 195; Wordsworth's self-contemplation, 203, 204; modern speculation, 207; and see Truth, Didacticism, etc.

Religion, its "conflict with science," 33; piety of the artist's labors, 221,—his conception of Deity, 222; the God of truth also the God of art, joy, song, 222, 223.

Renaissance, 112; tentative revolts and new movements in art, 158-161; the Italian, 160; the "Colonial" revival, 161.

Repose in art and poetry, 273.

Republic, The, Plato's, 21, 22.

Republicanism, its "applied" imagination, 229.

Reserve, professional, cause of, 12-14.

Reserved Power, 272, 273.

Retentive Faculty. See Imagination.

Revelation, of scientific truth, 33 et seq.; through poetic insight, 45; and see Inspiration and Insight.

Revolt, Poetry of, 123-126, passim.

Reynolds, Sir Joshua, 50; as an Academician, 161, 162.

Rhapsodists, the, 9; primitive recounters, 79.

Rhetoric, and Poetry, Milton on, 27; and see 59.

Rhyme, "a memory and a hope," 54; not essential to rhythm, 56; uses of, ib; "the Walkers and Barnums," 77.

Rhythm, its importance emphasized by Shelley, Watts, and others, 25, 26; Poe on, 26; the guild-mark of uttered poetry, 51-59; its universal and mysterious potency in nature and art, 51, 52; vibrations of, 52; is spontaneous, 53; method, factors, and phenomena, 54, 56; correspondence with linguistic meaning, ib.; Mill on, 55; poetic, distinct from that of prose, and out of place in prose, 56-59; freed by Milton, 116 ; splendor and melody of Shelley's and of Swinburne's, 132; dangers of excessive, 132, 133; search for new effects, 158; Whitman's and Lanier's attempts to make symphonic, 196; Cowper and the return to flexible verse, 214.

Richter ("Jean Paul"), 58, 183.

Rime of the Ancient Mariner, The, Coleridge, 236, 238.

Ring and the Book, The, Browning, 192.

"Rizpah," Tennyson, 270.

Romance, Prose. See Fiction.

Romanticism, emotional conception of poetry, by Byron, Moore, Mill, etc., 19, 20; "The Romantic School," ib., 118,—traits and leaders of, 118-127,—theory of, 262; vs. realism, 145, 199; the true, 151; French and German, 243; its key note, 267.

Romantic School, The, Heine, 118.

Romola, Mrs. Cross, 137.

Ronsard, 171.

Rood, O. N., scientist, 35.

"Rose Aylmer," Landor, 184.

Rossetti, Christina, 269.

Rossetti, D. G., human passion of, 269; and see 130, 131, 158, 168, 238, 283.

Rousseau, painter, 246.

Rowland, H. A., physicist, 35.

Rubáiyát, Omar Khayyám, 212; quoted, 217.

Rubinstein, A., musician, 9.

Rules, their inefficiency, 11.

Ruskin, on the nature of poetry, 20; on the "pathetic fallacy," 204 et seq.; cited, 142; and see 50, 58.

Ruth, The Book of, 175.

Sadness, an effect of beauty, 267.

Sainte-Beuve, critic, 143.

Salvini, actor, 110.

Samson Agonistes, Milton, 116.

Sanborn, F. B., 22.

Sanity of genius, 284.

Sappho, genius and relics of, 87, 88; and see 262.

Satire and Irony—Dante, 114; Heine's mocking note, 127.

Saturday Review, The, on genius, 279.

"Saul," Browning, 109.

Savant, the. See Science.

Scarlet Letter, The, Hawthorne, 55. 137.

Schiller, on rhythm, 54; quoted, 108; and see 18, 237.

Schlegel, A. W., on Taste, 47; cited, 92; and see 26, 143.

Schools, in Art and Letters, contests between the realists and romanticists, the academicians and the impressionists, etc., 144, 145, 157, 199; how evolved, 151; and see Introduction.

Schopenhauer, on the imagination, 21; on the musician, 65; quoted, 130; and see 270.

Science,—economics, sociology, and poetry, 14; its apparent deprecation of æsthetics, ib.,—but only to afford a new basis, 152; as the antithesis to Poetry, 20, 21, 28; how far antithetical, 28; illustrated—by the Aurora fresco, 29, by poetry and the weather bureau, 30; the distinction one of methods, 31, 32; discovery through imagination, 32; science and religion, 33; discussion of science and poetry, in Victorian Poets, 33; effect on poetic diction and imagery, 34; intuitions of the savants, 35 et seq.; Prof. A. S. Hardy on, 36-38; inferring immortality from evolution, 37; control of public interest, 38; really an adjuvant to poetry, 38, 39; Tyndall on Emerson, 39; its beginnings suggested in Dürer's "Melencolia," 140, 141; men of, their vitality, 142; our attitude toward Nature, 207; Lucretius and the De Rerum Natura, 212, 217; the new learning, 220, 296; the modern speculative imagination, 228; and the future, 250; evolution, 257; and the new faith, 291.

Science of Verse, The, Lanier, 61.

Scotland, poetry of, 264.

Scott, Walter, contrasted with Morris, etc., 131,—with Arnold, 135; source of his lyrical method, 238; quoted, 181; and see 60, 121, 263.

Sculpture, the sculptor's working method, 6; specific province of, 63; how far imitated by poetry, 67; opportunity of our native sculptors, 200; Ward, Donoghue, Tilden, 200; and see 13.

"Sea-Shell Murmurs," Lee-Hamilton, 206.

Seasons, The, Thomson, 189.

Self-Consciousness. See Subjectivity.

Self-Expression. See Subjectivity.

Semitic literature. See Bible, Poetry of the.

Sénancour, 135.

Sensation, Human, art must be 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.

"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 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.

Talent, as distinguished from genius, 279; value of, ib.

"Talking Oak, The," Tennyson, 215.

"Tarn o' Shanter," Burns, 268.

Tasso, 79, 112.

Taste, renounced by Wordsworth, 20; Poe's view of its preëminence, 26; as wrongly forsworn by certain poets, 47; Schlegel on, ib.; often falsely assumed, 48; "the artistic ethics of the soul," 49; discordant, how produced, 158; inborn, though cultivable, 161; and fashion, ib.; limitations of Anglo-Saxon, ib.; the maxim De gustibus, 166; not always allied with creative faculty, 280; an exquisite possession, 280, 281; and see 283.

Taylor, Bayard, imaginative poems of, 254; and see 129, 195.

Taylor, Sir H., Philip van Artevelde, 104; dramas of, 132.

Taylor, Jeremy, 59.

Technique, poetic forms, measures, etc., 77; Hebraic alliteration, parallelism, etc., 85; blank verse, 105; modern mastery of, 130, 225; "French Forms," 158; over-elaboration and over-decoration, 177.

Temperament, Hugo's, 119; Lander's, Alfieri's, etc., 125, 133; the artistic is androgynous, 127; modern view of the poetic, 141; the Greek, 142; governs a poet's product, 133; Arnold's in conflict with his theory, 133-135; should be respected, 135, 136; the English, as respects taste, 161; of Pope, 214.

Tempest, The, Shakespeare, analysis of its components, 106, 107.

Tennyson, his "Day-Dream" quoted, 68-70; as poet-painter, 68, 70; early poems of, 168; as a technicist, 177; his dramas, 191; as a poet of nature, 193; as an idyllist, ib.; on Truth, 198; In Memoriam, the representative Victorian poem, 212; sententiousness of, 213, 215; The Princess, 237; vocabulary of, 242; anecdote of, 255; his gain in passion, 269; quoted, 35, 102, 167, 187, 208, 264, 291; and see 10, 130, 131, 136, 142, 172, 179, 200, 225, 235, 266, 268.

Terence, 100.

Thackeray, cited, 103; and see 58, 137, 215, 283.

"Thalysia," Theocritus, 90.

"Thanatopsis," Bryant, 252.

Theatre. See The Drama and Dramatic Poetry.

Theme, not always the essential factor, 236.

Theocritus, Vergil's imitations of, 91; quoted, 179; and see 90, 193.

Theognis, 212.

Thomson, James [1834-82], 133.

Thomson, The Seasons, 189.

Thoreau, 193.

Thought, poetry as the voice of the conscious intellect, 48; must not disregard beauty, 48, 49; exact, inexpressible by music, 66; and see 147.

Thoughts on Poetry, Mill, 20.

Three Memorial Poems, Lowell, 267.

"Threnody," Emerson, 267.

Tilden, American sculptor, 200.

"Tintern Abbey," Wordsworth, 205.

Tolstoi, 137.

"To Mary in Heaven," Burns, 265.

"To the Sunset Breeze," Whitman, 253.

Tourgénieff, novelist, 58, 137.

Tradition, the war upon, 290.

Tragedy, Aristotle's definition, 103; ethics of, ib.; why it exalts the soul, 103, 271, 272; its reconciliation of Deity and Destiny, 104; and see The Drama.

Training, poetic, 9-11; cleverness of modern, 59-61; a true vocation indispensable, 60; "The Science of Verse," 61; self-consciousness in youth, 101; Heine's song-motive, 127; of the taste, 166; effects of town and of country in youth, 195; the formative period, 218; juvenile contemporaneousness, 226; a neophyte's errors, 235.

Transcendentalism, from Plato to Emerson, 21-24; the Concord School, 23, 24; indifference to form, beauty, etc., of certain modern idealists, 149.

Transition Periods, 114; the recent one, 294.

Translation, from the Sanscrit, Arabic, etc., 82; English version of the Hebrew Scripture, 85; renderings from the Greek anthology, by Cory, Lang, etc., 89; does not convey the full beauty of a poem, 166; of early French chansons, etc., 171.

Trilogy, Swinburne's, of Mary Stuart, 132.

Tristia, Ovid, 92.

Truth, the essential verities, 4; wisdom and ethics of the grand drama, 97-104; Browning's philosophy, 108; Dante as an ethical teacher, 114; The Faerie Queene, 114; pure, symbolized by beauty, 168; as an element of poetry, 187-223; what is meant by its unity with beauty, 187; the didactic heresy as the gospel of half-truths, 188; a matter of course in good art, 189; incidental, better than premeditated, ib.; side-glimpses of it more effective than details, 190; broad and universal, or minute and analytic, 191, 192; of Browning and Tennyson, in comparison, 192, 193; requires naturalness, 193; force of its direct statement, 193, 194; of Wordsworth and Bryant's broad method, 194; of the American poets of nature, 195, 196; not a display of mere facts, 196; nor a servile imitation, 197; is alive with interpretation. 198; must pay regard, also, to things as they appear to be, 198; of realism and ideality, 199; of fidelity to one's environment, ib.; of "local flavor," 200; of sincerity, 201; not to fetter the poet's imagination, 201; mere description unsatisfactory, 202; largely subjective, 202, 203; question of the "pathetic fallacy," 204-210; of nature's apparent sympathy, 205; scientific truth, the fearless desire for, 207; philosophical truth, 211-219; of the higher didacticism, 211-213; of ethical insight, 216; of a noble iconoclasm, 217-219; hostile to the commonplace, 219; free and alert, 220; finally coherent with beauty, 220, 221; the God of, also the God of art, 223; and see 46, 147, also Ethics and Didacticism.

Tudor sonneteers, 115.

Turnbull Memorial Lectureship, The Percy, 4; its founders, 6; design of its initial course, ib.; theory of these lectures, 76; and see 93.

Turnbull, Percy Græme, 93; and see Introduction.

Turner, J. W. M., painter, 210, 246.

Two Worlds, Gilder, 257.

Tyndall, scientist, quoted, 39.

Unconscious, Theory of the, Hartmann, 46, 147, 156.

Universality, of the arts, 13; world-poems, 112; Shakespeare's, 230; of genius, 283; and see 191.

"Universal Prayer, The," Pope, 214.

Universities, ideal side of, 4, 5.

Utility, its relation to beauty, 156; La Farge on the relations of fitness and beauty, 163.

Utterance, poetry is, 62; and see 264, also Expression and Language.

Vague, The, imaginative effect of, 244-247; in Hebrew poetry, 244; in Camoëns, Milton, Coleridge, 244, 245; in Shelley's cloudland, 246; of thought and style, its reflex action, 235.

Vanity Fair, Thackeray, 137.

Variety, advance in poetic materials for color, diction, etc., 176.

Vates, the, 287.

Vedder, E., painter, 212.

Velasquez, painter, 150.

Vergil, the Vergilian style, 91; "Tu Marcellus eris," 93; quoted, 286; and see 43, 212.

Véron, E., critic, his subjective theory of Beauty and the Æsthetic, 152, 157; cited concerning Genius, 283.

Vers de Societé. See Society Verse.

Verse, the true antithesis of Prose, 20.

Versifiers and Verse-making, 8, 11, 13; delusion of poetasters, 24; Milton on rhymers, etc., 27; Sidney on, 62.

Vibrations, their function, as the only media through which impressions reach the incarnate human soul, 52,—the soul thrilled by, and responsive to them, ib.; impalpable, 53; musical, 65; excite reflex action, 72; their expression of the quality of Beauty, 153-155; actually operative, 154; appeal, through all the senses alike, to spiritual feeling, ib.; Beauty's under-vibration, 180; and see Rhythm, etc., and Introduction.

Victorian Period, School of, 55; Browning, 110; In Memoriam, 212; its reserve, 265; and see 125, 138.

Victorian Poets, by the author of this volume: references to, 33, 61, 108, 177, 192, 226, 269.

Villon, 167, 171, 184.

Virility, of the ancients, 142; of scientists, ib.; of recent poets, ib.; healthfulness of impersonal effort, 142; and see Masculinity.

Vision, absolute and unconditioned, 77-80; conditioned, 80; clearness of the artistic, 233; Blake on, ib.; the poet dependent on, 234; and see 255.

Vocabulary, the poet's, how acquired, 10; and see Diction.

Volapük, 216.

Voltaire, 82.

Wallenstein, Schiller, 104.

Waller, 171.

Ward, J. Q. A., sculptor, 13, 200.

Watts, T., essay on Poetry in the Encyc. Brit., 25, 26, 28.

Waverley Novels, the, 131.

Webster, John, 108; The Duchess of Malfi, 249.

Webster, D., and Choate, reminiscence of, 192.

"Wertherism," 121.

Westward Ho! Kingsley, 137.

"West Wind, Ode to the," Shelley, 266.

"What is the Use?" Ellsworth, 289.

White, R. G., critic, cited, 246.

"White Rose, The," anon., quoted, 171.

Whitman, W., his Americanism, 129; as a poet of Nature, 195; compared with Lanier, 196; his defects, ib.; genius and cosmic mood, 253; quoted, 38; and see 35, 158.

Whittier, national sentiment of, 129; passion of his song, 268; a poet of sympathy, ib.; Snow-Bound, ib.; and see 136, 195.

"Will Waterproof's Lyrical Monologue," Tennyson, 215.

Wilson, J., 58.

Winter's Tale, A, Shakespeare, 189.

Wisdom, of true genius, 284; and see Didacticism, Truth, etc.

Wit, 213.

Witch of Atlas, The, Shelley, 246.

With Fire and Sword, Sienkiewicz, 137.

Wonder, 245; and see Imagination.

"Woodnotes," Emerson, 225.

Words, the Power of. See Language.

Wores, T., painter, quoted, 31.

Wordsworth, on imagination, 20; on prose and verse, ib.; on poetry as the antithesis of science, ib., and 28; on insight, 45; his classification of his poems, 77; his more enduring poems, 172; his pathetic lyrics, 184; broad effects of, 194; his repose, 203; his study of nature's effects upon himself, 204; reasons for his influence, 210; Shairp's view of, 218, 219; "the faculty divine," 259; on poetry as emotion, 263; the "passion" of, ib.; originality of, 277; quoted, 63, 136, 205, 206, 236, 261; and see 60, 125, 142, 173, 189, 190, 193, 252.

Wordsworthians, the, 47; Arnold on, 219.

Wuthering Heights, E. Bronté, 137, 273.

"Ye Mariners of England," Campbell, 266.

Zest, of the antique temperament,139, 143; its worth, and how sustained, 160, 161; Clough's, 295.

THE END.