BESANT, Lecture on the art of fiction, 237: his frankness, 238, idea of fic- tion as a fine art, 240-241, on moral- ity in fiction, 254-255, on selection, 250-251, on the " story," 151-154; wrong view of "laws," 244-245, and distinctions, 246-249;
Quoted, 243-244, 251; 350,351,356. BETTERTON, 223.
BETTES WORTH, II. Beverley, Mrs., 228. Bible, 210.
Biographia Literaria, 294, 343, 353, 354,
Biographical criticism, xv.
BIRRELL, Xxvii, 134.
Black Cat, 158, 160.
BLACKMORE, 66, 199, 201, 344.
BACON, 16, 22, 32, 57, 163, 309, 312, | Blackwood's Magazine, 34, 167.
Barnaby Rudge, quoted, 85-86; 102, BOSWELL, XXX.
Brahmin, story of the, 60-61.
BREWSTER, SIR DAVID, 158.
BREWSTER, W. T., xxxi, 350, 356. Bride of Abydos, 290.
Broadway Journal, 131, 169, 171.
BROWN, 131, 228, 234.
BROWNE, Sir T., xxviii, 207, 210.
BROWNE, W. H., 161, 162, 163, 164, 172,
BROWNING, E. B., 142, 143, 147, 168. BROWNING, R., xvii, 150, 351. BRUNETIÈRE, 339, 356.
BRUNETTO LATINI, 279. BURKE, 210. BURNET, 299.
BURNS, admirers of, 288-290, great achievements of, 291, place in Eng- lish literature, 287, "real" Burns, 287-288, shortcomings, 288-290, particularly his lack of "high serious- ness," 290; quoted, 287, 288, 289, 290, 291, 292; 280, 352.
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,
CATULLUS, quoted, 190; 321.
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-
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;
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.
Fall of the House of Usher and Other Tales and Prose Writings, 357- Fallacies in the estimate of poetry, 271-275.
French Poets and Novelists, 141.
Friar, 191.
FROUDE, 10.
FULLER, 165.
Gabriel, 78.
GAINSBOROUGH, 114.
Galeotto, 324.
Gamester, 228.
Gamp, Mrs., 91, 102, 108.
GARRICK, 220, 224, 228, 229, 231. GATES, 340, 356.
GAUTIER, 113, 153.
GAYLEY, vi, 356, 350.
Genesis of the Raven, 144.
Genius, classification of men of, 81-84.
Genre criticism, xvi-xvii, 339.
GEORGE ELIOT, Xxvii, xxviii, xxxii,
xxxiii, 160, 165, 254. GEORGE SAND, 118. GEORGE I., 12. GEORGE II., 11. Gertrude, 236.
Gerusalemme Liberata, 326. GIBBON, 210, 240, 329.
Falsification of English History, 25, 30. GILFILLAN, 127, 134, 136.
Falstaff, 96, 97, 236, 342.
GILL, 131, 140, 141.
Glance at the Works of Mackintosh, 25. Glenalvon, 230.
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