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ANALYTICAL INDEX

ANALYTICAL INDEX

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.

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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,

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 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

ANALYTICAL INDEX

Quality, The Fine Arts, Com- | Ausonius, 169.

posite Art, etc.

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.

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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-

ture.

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 Bar-
nard, 194.

Aurora Leigh, Mrs. Browning, 237.

Austen, Jane, novelist, 138.

303

BACON, on Poetry, 23; quoted,

203; and see 57.

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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