BACON, 16, 22, 32, 57, 163, 309, 312, | Blackwood's Magazine, 34, 167.

Barnaby Rudge, quoted, 85-86; 102, BOSWELL, XXX.

189, effect on English, 183, in English
poetry, 189, genius, 192, good
sense, 189-190, lack of "high seri-
ousness,' 283, language, 194-197,
life and opinions, 191-192, liquid-
ness, 282, morals, 193-19, need
of a translation of, 196-197, natural-
ness, 190, originality, 197, Palamon
and Arcite, his best work, 198-199,
seventeenth-century view of, 284,
superiority to the romance poets,
280, variety, 193; verse, 190; quoted,
194, 195, 281, 282; XXV, 22, 84, 137,
327, 329, 344, 345.

Cheeryble, 88.

Chérie, 253.

CHESTERTON, xiii, xix, xxvii, 349, 356.

Canterbury Tales, 84, 182, 188, 191, 192, China, 17.

Casuistry of Roman Meals, 17, 23, 24.
Catholic Reasons for Repealing the Test,

2.

Cato, 318.

CATULLUS, quoted, 190; 321.

Ceylon, 17.

341.

CLAUDIAN, 326.

Claverhouse, 1.

CLEMM, MRS., 130, 136, 137.

CLEMM, VIRGINIA, 130.

CLEVELAND, quoted, 52, 54; 48.

Chanson de Roland, quoted, 275; 274. Cock and the Fox, 188.

CHAPMAN, 285.

CHARLEMAGNE, 274, 275.
Charlemagne, 17.

CHARLES II., 319.

Charles Dickens, a Critical Study, 350,
356.

Charles Lamb, 17, 18.
Chartism, 104.

CHATEAUBRIAND, 113.
CHAUCER, charm of, 281-282, as clas-
sic, 282-283, compared with Boc-
caccio, 183, 197–198, with Ovid, 187-

COLEMAN, 177.

Coleridge, 354.
COLERIDGE, H., 341.

COLERIDGE, S. T., On Poetry and the
Poetic Power, 294-306 (see Poetry);
notes on, 353-355; quoted, 351;
ix, xii, xvi, xix, xxv, xxxi, 17, 21, 29,
77, 148, 209, 210, 284, 343, 346, 349,
350, 355, 356.
Coleridge, 354.

Coleridge and Opium-Eating, 17.
Coleridge's Complete Works, 354, 356.

Defence of Philosophic Doubt, 176.
Defence of Poetry, 307-336, 355.
DEFOE, 154, 207, 210.

Dégénéresence, 172.

DELANY, 14.

DEMOSTHENES, 10, 22, 186.
DENHAM, 48, 190.
DENNIS, 102.

DE QUINCEY, review of his work, 16–44:
as critic, 31-32, historian, 18, 19,
humorist, 34-35, imaginative stylist,
38-44, "impassioned" prose, in-
tellectual quality, 39, as novelist,
35-38, originality, 23-24, politics,
30-31, as portrayer of contemporary
life, 17-18, student of economics,
31, his sublimity, 34-35, theology,
26-29, works, classification of, 16–
44, his own classification, 16; princi-
ples of classification, 16-17, — classes:
descriptive, biographical, and his-
torical writings, 17-24, imaginative,
33-44, speculative, didactic, and
critical, 24-33.

Notes on, 338-339;

Quoted, 19-23, 28-29, 32-33,
42-44, 156, 349;

vi, xxvii, xxxi, xxxii, 156, 210,
343, 344, 354, 356.

De Quincey's Collected Works, 16, 21, 23,
33, 356.

De Quincey's Writings: Classification
and Review, 16–44.

Descent into the Maelstrom, 139, 160.
Desdemona, 228, 232.

Destructive criticism, xx.

Development of the English Novel, 339,
351, 356.

Dialogues of Three Templars on Political
Economy, 25, 30.
Diana, 195.
Dice, 35.

DICKENS, review of collected works by
Bagehot, 80-110: falling off of his

later work, 105-106, 109-110, his
humor, 94-99, as illustration of the
"unsymmetrical" genius, 84-110,
in manner, 85-86, in matter, 86-87,
inability to give unity to stories, 87-
88, to make a love story, 100-101,
to make a plot, 99-100, to reflect, 87,
his individuality, 107-109, knowl-
edge, 88-91, politics and philosophy,
103-105, popularity, 80-91, power
of improving scenes, 91-94, of ob-
servation, 88-89, purity, 101-102;
his sentiment, 102-103, taste, 106-
107; unmorality of some of his crea-
tions, 95-99;

96;

Notes on, 341-342;

187, on epic poetry, 186, occasion of
translation, 181-184, purpose of trans-
lation, 184, views on translation, 181-
182; Arnold on Dryden as poet, 284-
286, as prose-writer, 285, Macaulay's
opinion of the Fables, 62.
Notes on, 344-345.
Quoted, 280, 286.

vi, xii, xxv, 45, 58, 62, 68, 234,
281, 350, 353, 356.
DUMAS, 256.
Duncan, 230.

Duncan Gray, 287, 291.

Early Memorials of Grasmere, 33, 34.
Earthly Paradise, xiv.

Quoted, 80, 85-86, 89-90, 92-94, Écrivains Francisés, 159, 170.

136, 160, 167, 168, 170,
256, 257, 354.

Dickens, 80-110.

Edgar Allan Poe, 137.

237, Edgar Poe and His Critics, 127, 128, 135.
EDWARD III., 191.

Effect in composition, 258.

Dictionary of National Biography, 338, | El Dorado, 151.

Drapier's Letters, 4-12, 15; see SWIFT.
Dream upon the Universe, 39.
Dream-Fugue, 41.
Dreaming, 24.

Dreamland, quoted, 147, 148.
DRYDEN, Preface to the Fables, 181-
201, apology for his writings, 199-201,
on Boccaccio, 197, Chaucer, 189–196,
- largeness, 192-194, naturalness,
190-192, originality, 197, reasons for
translating him, 194-196, his verse,
190, 195-196, — comparison of Chau-
cer and Boccaccio, 182-184, 187-188,
193-194, 197, of Chaucer and Ovid,
187-189, of Virgil and Homer, 185-1

Elements of Drawing, 206.
Elements of epic poetry, 186.

Elements of literary criticism, xviii.

ELIZABETH, QUEEN, 182.

Elizabethan Lyric, 339, 356.

Elocution, 223-225.

EMERSON, xviii, xxv, 340.
Emilia, 189.

| Emma, xxx.

Encyclopædia Britannica, 179.
Enfield Speakers, 222.

| English Composition, xxviii, 357.
English in Ireland, 10.

English Literary Criticism, vi, 359.
| English Mail Coach, 34, 40-41, 338.
English Men of Letters, 338, 339, 356, 357.
English Poets, 269, 353, 359.
English Verse, 346, 356.
ENNIUS, 188, 190, 321.
Ephemera Critica, ix, 356.
Epistle Dedicatory to the Rival Ladies,
345.

Epitaph, quoted, 220.
ERSKINE, 339, 356.
Essay on Death, 312.

Essay of Dramatic Poesy, 345.
Essays in Criticism, x, 356.
Essays in Criticism, second series, ix,
269, 341, 343, 352, 356.

Falsification of English History, 25, 30. GILFILLAN, 127, 134, 136.