ACADEMIC, THE, revolts against, | Alexandrian Period, the Sicilian and rise of new schools, 148, style, 89, 90.
150, 151; cause of its despo- tism, 157; value of its stan- dards, 159; Sir Joshua Rey- nolds, 161, 162.
Action, of the drama, 105; de- fended by Arnold, 133; as the poet's theme, 268. Actor, the, 271.
Adam Bede, Mrs. Cross, 137. Addison, 101, 250. "Adonais," Shelley, 90, 124. Eneid, The, Vergil, 91-93, 212, 286.
Eschylus and the Greek drama,
98, 99; and see 46, 169, 240, 251. Estheticism, less artistic than emotion, 262.
Esthetics, Poe on Beauty and Taste, 26; Berkeleian theory of, 148, 149; Véron, in his L'Æs- thetique, 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.
Allegory, of Dante, Spencer, and Bunyan, 114; and see, 249. America, theory of her institu- tions, 3; American quality should pervade our native po- etry 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 Karenina, Tolstoi, 137. Anthology, the Greek, 88, 169, 183; the Latin, 92.
Anthropomorphism, the artists'
true conception of deity, 222, | Arnold, E., 82, 235.
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; an- cient classification of poetry, 76; spirit of an Athenian audi- ence, 79; classicism of Keats and Landor, 124; in modern Italian poetry, 128; Arnold's early subjection to, 133, 134; Schlegel on, 134; our compen- sation 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" clas- sical" style, 213; genius for configuration, 242; the pagan supernaturalism, 243; unison of passion and art, 262; Emer- son's philosophy, 267; and see Hellenism.
Arabian Nights, The, Galland's,
Payne's and Burton's transla- tions, 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, 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; sub- jective lyrics, 134; tempera- ment and career, 135; his se- lections 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,
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 para- dox, 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 reten- tive faculty of the musician and painter, 232-234,- of the poet, 234, 235; heightened by pas- sion, 262; must express states of soul, 272; repose and true naturalism, 273; and modern inspiration, 287; its best atmos- phere, 291; and see Artistic
Quality, The Fine Arts, Com- | Ausonius, 169.
Arte of English Poesie, The, Put-
tenham, 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 charac- teristics 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 com- pared with poetry, 63-72; Les- sing's canon, 66; the "speech- less arts normally objective, 80; must express the beautiful, 147; illustrative of poetry, 155; a Japanese at the Art Students' League, 165; and see Archi- tecture, Music, Painting, Sculp-
Aryan Literature, 87. Association, 250.
"Astrophel," Spenser, 90.
Atalanta in Calydon, Swinburne,
Auerbach, B., novelist, 137. "Auld Lang Syne," Burns, 264. "Auld Robin Gray," Lady Bar- nard, 194.
Aurora Leigh, Mrs. Browning, 237.
Austen, Jane, novelist, 138.
BACON, on Poetry, 23; quoted,
Balder Dead, Arnold, 134, 135. Ballads, early English, 94; Thack-
eray'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; consid- ered as an element in poetry and cognate arts, 147-185; its expression an indispensable function, 147; recurrent deni- als of its indispensability, 147 et seq.; these are merely re- volts against hackneyed stan- dards, 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 Esthetics,
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