Face of Dante, Carlyle, 143.
Faith and the Shell, Wordsworth, 140.
Fall of D'Assas, Mrs. Hemans, 263.
Fancy, playful, 53; relation to imagina-
tion, 52-62.
Farce, nature and rendering of, 285-286;
uses imitation, 231; use of, in Shakespeare,
287.
FAULTS AND DANGERS IN DRAMATIC EXPRES-
SION, 340-342.
Faults, correction of, 169; monotony, 204,
194; of Voice, cause of, 167; Tediousness,
307; Hurry, 307.
Feeling awakened by memory and imagina-
tion, 90; requires clear ideas, 152.
Ferdinand and Miranda, Shakespeare, 318.
FIELD, EUGENE, Night and Morning, 64;
Little Boy Blue, 176.
FIELDING, HENRY, Peter Pounce and the
Parson, 240.
FINCH, FRANCIS M., Figures, illustrations of,
109-116; product of Imagination, 107-108;
Nathan Hale, 218.
Flower in a Crannied Wall, Tennyson, 216.
Folk Lore, product of Imagination, 132.
FORMS OF THE DRAMATIC, 283-289.
Four Seasons, Song of, Dobson, 128.
Gemini and Virgo, Calverly, 332.
Generalization and Imagination, 65.
Genevieve, Coleridge, 174.
Geraint, Tennyson, lines from, 80.
GOETHE, Erlkönig, 336; Wanderer's Night
Song, 358.
Goody Blake and Harry Gill, lines from,
243.
GOSSE, EDWARD WILLIAM, The Return of the
Swallows, 128.
GRADATION, 216-218.
Gratiano's Words, Shakespeare, 104.
GRAY, THOMAS, Elegy, lines from, 75.
Great Deliverance, The, Psalm XLVI., 146.
Greeks, custom of reciting, 326-327.
Guitar, To a Lady with, Shelley, 69.
HAMERTON, PHILLIP GILBERT, Rising of the
Hills, 46.
Heart, A Happy, DEKKER, 219.
HARDY, THOMAS, from "Tess," 68.
Hebrew Poetry, Transitions in, 217.
HEINE, Palm and Pine, 23; in German, 338.
HEMANS, FELICIA D., Fall of D'Assas, 263.
Henry V., to his Troops, Shakespeare, 324.
High Tide, Ingelow, lines from, 310.
HISTRIONIC EXPRESSION, MODES OF,
326-328.
Hohenlinden, lines from, Campbell, 344.
HOLMES, OLIVER WENDELL, The Chambered
Nautilus, 45; lines from Aunt Tabitha, 268.
HOMER, lines from, 109; 123.
HOOD, THOMAS ; Domestic Asides, 252,
Pain in a Pleasure Boat, 215; lines from
Seasons, 76; lines from Lost Heir, 205.
Horatius, Macaulay, lines from, 307.
HORNE, RICHARD H., The Laurel Seed, 195.
HOUGHTON, LORD, The Brookside, 122.
House of the Trees, Wetherald, 28.
House Beautiful, Stevenson, 26.
HUDSON, HENRY W., on spontaneity, 351,
354.
HUGO, VICTOR, On a Cannon, 129. The
Tomb and the Rose, 268; in French 338.
HUMOR AND ASSIMILATION, 328-329.
Humor, and sympathy, 329; how to rcnder,
328; importance of, 329.
Hunt, The, Arnold, 309.
IDEAL AND THE REAL, THE, 47-49.
Ideal, defined by Blanc, 67; by Plato, 67.
IDEAS AND EXPERIENCE, 191-195.
Ideas of Imitation, Ruskin, 225.
IDENTIFICATION, 199–201.
Identity, Aldrich, 154.
Imagination, actions of, 164-171; acts easily,
76; freely, 76; immediately, 75; simply,
75; suggestively, 76; and Assimilation,
340; AND FANCY, 52-62; AND FEELING, 89-
100; AND FIGURATIVE LANGUAGE, 107-109;
AND MEMORY, 36-43, 340; AND SCIENCE,
42-44; concerned with realization of
truth, 20; defined, 92; developed by art
and literature, 11-12; different with
each author, 137; Function of, 131-133;
gives beauty, 27; highest action of the
Soul, 185; kept from abuse by great
art, 146; not decorative, 142; deceptive,
142; goes to the heart, 145; not compo-
sition, 145; relates, 30; requires intuitive
knowledge, 152; should be developed,
8-9.
IMAGINATIVE ATTENTION, 29-32.
IMITATION, AND ASSIMILATION, 220-
225; not applicable to highest literature,
223; distinguished from assimilation, 224;
antagonistic to imagination, 224; manipu-
lates, 262.
Impersonation, as a form of expression, 327.
Incident of the French Camp, Browning,
Inflections reveal intellectual transitions,
Influence, chief element in purposes, 277.
INGELOW, JEAN, lines from High Tide, 310.
Ingomar, lines from, Knowles, 341.
Instinct, nature of, 235; development of,
237; dramatic, 342.
INTENSITY, AND REPOSE, 177-181;
needs imagination, 177; control, 178.
In the Storm, Augusta Webster, 148.
Intimations of Immortality, Wordsworth,
112.
Itylus, Swinburne, 142.
Ivry, Macaulay, lines from, 311.
Ivory Gate, Collins, lines from, 130.
Jacques, lines on, Shakespeare, 271.
Jebb, Burke and Demosthenes, 140.
Jefferson, Joseph, uses Assimilation, 341;
on actors and orators, 322.
Job, lines from the Book of, 130.
JONSON, BEN, lines from, 227.
Journey of Faith and Love, 55.
KEATS, JOHN, Stanza from Eve of St. Agnes,
67; Stanza from The Nightingale, 77; 72;
KEBLE, lines from Flowers, 130.
Keenan's Charge, 208.
KHEMNITZER, from The Rich Man and the
Poor Man, 267.
KINGSLEY, CHARLES, The Three Fishers, 200;
A Myth, 111.
KIPLING, RUDYARD, Danny Deever, 342.
Kitchen Clock, lines from, Cheney, 227.
KNOWLEDGE AND EXPRESSION, 149-
Kubla Khan, Coleridge, 49.
Ladies of St. James, The, Dobson, 259.
Lady Macbeth, Last Appearance of, 124.
Lady of the Lake, lines from, Scott, 220.
L'Allegro, lines from, Milton, 136.
LAMB, CHARLES, Origin of Roast Pig, 329.
LANGUAGES, ASSIMILATION AND, 333-
340.
LANIER, SYDNEY, Translation from Heine,
23.
Laurel Seed, The, Horne, 195.
Legend of Bregenz, Procter, lines from, 82,
311.
Leibnitz, from Essay on Knowledge, 150.
Lewes, George Henry, on Translation, 335.
Life, Adaptation by Du Maurier, 336.
Light of Other Days, Moore, 174.
Literature of Knowledge and of Power, 157.
Literature, methods of studying, 13-18, 149;
means of developing imagination, 155;
not Philology, 15; study of, should
centre in assimilation, 313.
Little Boy Blue, Field, 176.
Lochinvar, Scott, 207.
LOGAN, JOHN, The Cuckoo, 33.
Logic and Imagination, 66.
LONGFELLOW, HENRY W., lines from The
Building of the Ship, 199; Captain and
Treasurer, 320; Daybreak, 303; from
King Robert of Sicily, 192, 262; Paul
Revere's Ride, 201; Wreck of the Hes-
perus, 272.
Lost Church, Uhland, 72.
Lovers and Music, Shakespeare, 33.
LOWELL, JAMES RUSSELL, lines from, 29, 170.
Lucy, Wordsworth, 110.
Lyrics, how interest is held, 117; should be
studied by children, 313; simplest imagi-
native expression, 118; subjective and
personal, 117; sublime, 118.
Maid of Isla, Scott, 302.
MACAULAY, THOMAS B., from Horatius, 307.
MCCARTY, DENNIS F., Waiting for the May,
MACDONALD, GEORGE, Song, 186.
MANIFESTATION AND REPRESENTA-
TION, 228-232.
MANIFESTATION OF IMAGINATION:
CHANGE OF PITCH, 175; PAUSE,
165-166; TONE-COLOR, 167; TOUCH,
161-163.
Marguerite, Matthew Arnold, 100.
MAUPASSANT, GUY DE, Extract from, 105.
MARZIALS, THEOPHILE J. H., The Star, 64.
MASSEY, GERALD, lines from, 173.
Melody, peculiar form in every, 324.
Memorabilia, Browning, 318.
Memory as related to Imagination, 26-38.
Mental action cause of expression, 183-185.
Metre, not rhythm, 305.
MILL, JOHN STUART, on study of languages,
333.
MILTON, JOHN, lines criticised by Ruskin,
61; from П Penseroso, 74; Satan, 117;
from L'Allegro, 136; on Shakespeare,
143.
Milton, Wordsworth, and Shelley con-
trasted, 136.
Misconceptions, Browning, 79.
MISCONCEPTIONS AND ABUSES OF
IMAGINATION, 144-147.
Modulations, vocal, contrasted with words,
185.
MONOLOGUES, 293-295.
Monologues, not same as Impersonation,
327.
MOORE, THOMAS, The Light of Other Days,
174.
Monotony, cause of, 194; death of feeling,
194; of purpose, chief fault of speakers,
278.
Monroe, on three great words in expression,
182.
MOVEMENT, 304-311; contrasts of, 309;
defined, 306; in art, 306; each passion a
peculiar, 308; in relation to imagination,
176; not time, 306.
Mont Blanc, Coleridge, 40.
Murder of Duncan, Shakespeare, 104.
Murder of Mr. White, passage from, Web-
ster, 325.
Music, Shelley, 23.
My Rest, Sylva, 37.
Nathan Hale, Finch, 218.
Neutrality, cause of faults, 194–195.
Nicholas Nickleby, passage from, Dickens,
204.
NEWMAN, JOHN HENRY, Faith, 134.
Night and Morning, Field, 64.
Now and Afterwards, Craik, 215.
Obermann, lines from Arnold's, 36; 211.
Observation and Imagination, 38.
Old Grenadier's Story, The, Thornberry,
181.
One Way of Love, Browning, 303.
Orations, should be studied, 314; danger of,
314.
Oratory, distinguished from monologue,
294; importance of purposes in, 276-
278; requires imagination, 132-133; must
be impressionable, compared to acting,
322.
Origin of Roast Pig, The, Lamb, 329.
ORIGINALITY, 350-353; importance of,
Othello, lines from, Shakespeare, 101.
Pain in a Pleasure Boat, Hood, 215.
Palm and Pine, Heine, 23, 339.
Paracelsus, lines from, Browning, 165.
Participation, and Dramatic Expression,
261; and Quotation, 270; contrasted with
personation, 260; dramatic, important,
261.
PASSION, EFFECT UPON IMAGINA-
TION, 101-103; controlled by ideas, 203;
rhythmic, 346; stimulates imagination,
101-102.
Pathos, relation to Humor, 329.
Pauline, picture from Browning, 111.
Paul Revere's Ride, Longfellow, 201.
Pause, dignified, 166; necessary to imagina-
tion, 165; reveals imaginative and emo-
tional relations, 298.
Pericles, Paragraph from Funeral Oration,
135.
PERSONATION AND PARTICIPATION,
260-266.
Personation, at times ignobly, 264; by
representation, not imitation, 231-232;
must be justified by participation, 261;
not mechanical, 261.
Play, importance of, proved by Froebel,
316.
Pippa Passes, lines from, Browning, 163.
Piper, The, Blake, 203.
Phidias, Realist or Idealist? 47.
Petrified Fern, Branch, 46.
Poesy, George Wither, 51.
Poetry, contrasted with sublimity, 127;
destroyed by analysis, 25; dramatic, 119;
forms of, 117-120; gives point of view, 245;
imagination in, 120; implies utterance,
334; lyric, imagination in, 120; must be
vocally rendered, 121; must struggle to
render, 121; nature of, 120; not defined
by prose, 24; Plato on, 135.
Poet's Epitaph, lines from, Wordsworth,
POINT OF VIEW, 243-247; variation pos-
sible, 244.
POPE, lines from, 220, 226.
Portia's Speech on Mercy, Shakespeare, 280.
Pounce and the Parson, Fielding, 240.
Pride of Youth, Scott, 350.
PROCTER, ADELAIDE A., lines from Legend
of Bregenz, 82, 311.
Prodigal Son, Parable of, 247.
Psalm LXXXIV., 122; XLVI., 146; from
XVIII., 166; from LV., 85; lines from
CIV., 84.
Psalms, Greatest Lyrics, 118.
Public Reading, present condition of, 328.
PURPOSES IN EXPRESSION, 276-282;
conscious and unconscious, 276-277; de-
veloped by contrast, 279; distinct from
emotion, 278; short extracts and prob-
lems for, 279-281; variety of, should be
practised, 278.
Queen Mab, Shakespeare, 62.
QUOTATION AND ASSIMILATION, 268-271.
Quotation, exaggerated by Public Readers,
270.
READ, T. B., Waggoner of the Alleghanies,
175, 212.
Realism and Imagination, 47-48.
Recitation, among the Greeks, 16, 327;
earliest form of Dramatic Expression,
326; helpful to the study of languages,
324.
Rendering, requires intuitive knowledge,
153; importance of, in literature, 317.
Repose, nature of, 179; suggestive, 180.
Representation, not imitation, 230, 231;
right method in, 232; universally desired,
268.
Resonance, distinguished from pitch, 169.
Return of the Swallows, Gosse, 128.
Revenge, The, Tennyson, 346.
Rhythm, defined, 304; in nature, 304; in
speech free, 305; manifests force, 304;
manifests passion, 204; not metre, 305.
Rich Man and Poor Man, lines from,
Khemnitzer, 267.
Rising of the Hills, Hamerton, 46.
Rivermouth Rocks, lines from, Whittier, 248.
Robert of Sicily, lines from, Longfellow,
192; 262.
Rome, Byron's lines on, 39.
Romeo and Juliet, lines from, Shakespeare,
102.
Ruskin, on Imagination and Fancy, 60-61;
ideas of imitation, 225; penetrative power
of imagination, 78–79.
Salvini, used assimilation, 232.
Schlegel, on unity and originality, 353.
Science furnishes material to imagination,
43; 44.
SCOTT, SIR WALTER, Constance, 289; Death
of Marmion, 254; Lady of the Lake, from,
220; Lochinvar, 207; Maid of Isla, 302;
Pride of Youth, 349.
Scripture Reading, danger of exaggeration
in transition, 342; dramatic, 342, 343; dra-
matic participation rather than persona-
tion, 264; must realize situation, 86;
necessity of transitions in movement, 308;
needs point of view, 256; needs dramatic
exegesis, 246.
Self-Dependence, lines from, Arnold, 163.
Sermon on the Mount, Climax of, 308.
Shairp, On Imagination, 24; 25; 92.
SHAKESPEARE, WILLIAM. Adam and Or-
lando, 281; Bassanio and Shylock, 236;
Blow, Blow, 174; on Cæsar, 91; Cassius in-
stigating Brutus, 96; Gratiano and Anxi-
ety, 104; Falstaff on Cowardice, 291;
Hark! Hark, 26; Henry V. to his Troops,
324; Hamlet, lines from, 250; Hotspur's
Defence, 233; Imogen's Breathing, 110;
on Jacques, 271; Kent's Farewell, 281;
Lovers and Music, 33; Mercy, 280;
Murder of Duncan, 104; from Othello,
101; from Richard III., 250; from
Romeo, 102; from Tempest, 103; Shylock
and Tubal, 95; Sonnets, Morning, 28;
Sessions of Thought, 63; on Weari-
ness, 68.
Shakespeare's Use of Imagination, 68, 93.
Shamus O'Brien, from, 274.
SHELLEY, PERCY BYSSHE, from Cloud, 53;
Defence of Poetry, 147; To Lady with
Guitar, 69; Journey of Faith and Love,
55; World's Wanderers, 137; from Mont
Blanc, 184; from Prometheus, Lyric, 32;
Dawn, 54; Fancy and imagination in,
53, 54.
SHERIDAN, RICHARD B., lines from School for
Scandal, 205.
Shylock and Tubal, 95.
Shylock, modes of rendering, 235.
SITUATION AND BACKGROUND, 81-87.
SIMONIDES, Inscription at Thermopylæ, 129.
Simplicity of Imagination, 155; of Expres-
sion, 161; of Great authors, 342.
Skylark, To a, Wordsworth, 249.
Soliloquies, distinguished from monologue,
Song, Tennyson, Thy Voice is Heard, 81.
Songs, George Macdonald, 186; Scott, 210;
Tennyson, 81; "Blow, Blow," 174;
Hark! Hark, 26.
Sorrow, distinguished from sadness, 178;
346.
SPEAKING AND ACTING, 322–326.
Speakers, and acting, 322-326; how atten-
tion is won, 322, 323; faults of, 323;
emotional truthfulness, 344.
SPENSER, lines from, 141.
Spontaneity, 350-353.
Spouse Nancy, Burns, lines from, 269.
STEVENSON, ROBERT LOUIS, The House
Beautiful, 26.
STOREY, lines upon language, 230.
Story chiefly shown by movement, 307.
Stories develop assimilation, 313.
SUGGESTION, 182-186.
SWIFT, lines from Verses on his own Death,
250, 251.
SWINBURNE, ALGERNON, Itylus, 142.
Sympathy, soul of expression, 199.
Tale, A, Browning, 295.
TAYLOR, SIR HENRY, lines from, 174.
TAYLOR, TOM, 'Twixt Axe and Crown, 290.
TAYLOR BAYARD, from Song of the Camp,
65.
Tediousness and Hurry, faults of move-
ment, 307.
TENNYSON, ALFRED, Art and Sorrow, from
In Memoriam, 138; Crossing the Bar,
360; Departure, The, 132; Flower, 216;
Roll on, 44; Sunset, 44; Thy Voice is
Heard, 81; The Revenge, 346; The Voice
and the Peak, 186; We parted, 103;
When? 271; from In Memoriam, 44, 133;
lines from Geraint, 80.
Tennyson's use of Scientific facts, 44; and
Wordsworth compared, 138.
THORNBURY, GEORGE WALTER, The Cava-
lier's Escape, 229; The Old Grenadier's
Story, 181.
Three Fishers, The, Kingsley, 200.
Time, measured by rhythm, 306.
Tomb and the Rose, Victor Hugo, 268, 339.
Tone Color, defined, 167; dignified form of
expression, 168; reveals emotion, 168;
acquired by mechanical system, 168;
and quality, 167; selections for develop-
ing, 170-175.
Youch, means of revealing imagination, 161;
danger of, 162.
Training, necessity of, 314.
Tragedy, nature and elements of, 283-284.
TRANSITIONS, MEANS OF REVEALING, 297-
300; dangers in, 345, 346; develop truth-
fulness of feeling, 217; extracts showing
modes of, 300-303; found in dignified
literature, 217; in movement, important,
307; in Scripture reading, 256; by con-
trast and gradation, 209; simple, 342;
subtle, 314; in Tone Color subtle, 299.
Truth and Fact, 193, 243.
TRUTHFULNESS, EMOTIONAL, 344-347.
Truthfulness, demands assimilation, 312;
destroyed by drifting, 345; developed by
practising transitions, 217; needed by
speakers, 344.
'Twixt Axe and Crown, 290.
Two Peaks, Wordsworth, 156.
UHLAND, The Lost Church, 72.
UNITY, 353-367.
Up at a Villa, Down in the City, Browning,
213.
USES OF IMAGINATION, 131–133.
Verses on his own death, Swift, lines from,
250, 251.
Violinist, A, Bourdillon, 187.
Vocal Expression, aided by studying lan-
guages, 335; by translating, 336; an in-
terpretative art, 19; can suggest eternity,
183; danger of, 297; depends upon the
light, 95; mechanical and natural method,
18-21; direct language of emotion, 350;
necessity of point of view in, 246; needs
"ideal presence," 200; not pronuncia-
tion, 19; requisites of, 342; subtle, 297;
temptation to mechanical, 298; uses
many languages, 182.
Voice and the Peak, Tennyson, 186.
Voices, The, Isaiah XL., 87.
Voice, cause of faults of, 167; how made
cold, 191; manipulation of, 298; modula-
tions of, delicate, 297.
WATSON, WILLIAM, World Strangeness, 166.
Watts, Theodore, On absolute dramatic vi-
sion, 120.
WEBSTER, AUGUSTA, In the Storm, 148.
WEBSTER, DANIEL, Murder of Mr. White,
325; paragraph from, 133.
Webster, Daniel, used Imagination, 323;
324-325.
Westminster Bridge, Wordsworth, 49.
WETHERALD, ETHELWYN, The House of the
Trees, 28.
When Tennyson, 271.
WHITTIER, JOHN G., from Angels of Buena
Vista, 266; Barbara Frietchie, 232; from
Rivermouth Rocks, 248; lines from Our
Master, 108; from Maud Muller, 111.
WHITMAN, WALT, O Captain, My Captain!
358.
WITHER, GEORGE, Laughing at Despair,
172; from Poesy, 51.
Woman's Last Word, Browning, 153.
Words, place of, in expression, 192.
WORDSWORTH, WILLIAM, Beauty, 22; from
Brougham Castle, 68; Daisy, from, 60;
Goody Blake, from, 243; Intimations of
Immortality, 112; Lucy, 110; Nightin-
gale, from, 136; Poet's Epitaph, 64, 161;
Shell, 140; Skylark, 249; The Sonnet,
355; Tables Turned, from, 29; Two
Peaks, 156; Westminster Bridge, 49;
Worldliness, 21.
Wordsworth, distinction of Imagination and
Fancy, 59; compared with Tennyson, 137.
World Strangeness, Watson, 166.
Wreck of the Hesperus, Longfellow, 272.
Youth and Age, Coleridge, 187.
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