the closing lines of his great "Ode on the Death of the Duke of Wellington" apply to him also:
Peace, his triumph will be sung By some yet unmolded tongue
Far on in summers that we shall not see.
For though the giant ages heave the hill And break the shore, and evermore Make and break, and work their will; Though world on world in myriad myriads roll Round us, each with different powers And other forms of life than ours,
What know we greater than the soul?
On God and Godlike men we build our trust.
Hush, the dead march wails in the people's ears: The dark crowd moves, and there are sobs and tears; The black earth yawns: the mortal disappears;
Ashes to ashes, dust to dust;
He is gone who seemed so great.
Gone; but nothing can bereave him
Of the force he made his own
Being here, and we believe him Something far advanced in state,
And that he wears a truer crown
Than any wreath that man can weave him.
Speak no more of his renown,
Lay your earthly fancies down,
And in the vast cathedral leave him,
God accept him, Christ receive him.
Bacon, Francis, 173, 174, 420.
Balaustion's Adventure," 429.
"Balin and Balan," 504. Barrett, Elizabeth, 378, 408. Bath-Kol, 366.
Beatrice, 109, 111, 116, 121, 145, 148. "Becket," 482, 508.
Befreier, Der, epithet desired by Goethe, 329.
"Bishop Blougram's Apology," 382. "Blackwood's Magazine," 460. "Break, Break, Break," 501.
Bringing the Good News from Ghent," 382.
Browning, Robert: his poetry and his theology, 375-447; occasion of essay upon, 373-377; his portrait, 376; his life till death of his wife, 377, 378;
his notoriety, 378; his range, 381- 384; his "Ring and the Book," 384- 387; possesses the faculty of ideal- ization, 387-397; is he serious? 397, 398; are his writings healthful? 398- 400; as a literary artist, 400-412; his optimism, 413-431; is an evolution- ist, 418-421; believes in God, 421, 422; is a monist, 422-425; sees God revealed in human personality, 425- 427; sees love of God in Christ, 427- 431; in a later aspect, 431-444; in- fluence of his wife's death, 445; has hopes for the bad, 446; his own prospect, 446.
Brutes: have percepts, 161; have some imagination, 161.
Byron, 335, 379, 458, 522.
Carlyle, Thomas, 13, 154, 291, 322, 376,
"Charge of the Heavy Brigade," 495. "Charge of the Light Brigade," 473. Chorizontes, 5.
Christ according to Goethe, 320, 321; Browning's estimate of, 427; Lamb's estimate of, 428; nature as the body of, 428; nature as the face of, 428, 429.
"Christmas Eve," 422, 424, 439, 442. Christianity: Goethe's estimate of, 321, 322; unconscious plagiarisms from,
Coleridge: on " Withstanding," 254; on the "Prelude," 339; his "Folian Harp," 350; relations of, with Words- worth, 351, 352; on an illusion of memory, 354.
"Comedy, The Divine": the monu ment of Beatrice, 111; Dante's pre- paredness for writing, 111-114; the intention of, 114-121; the poem de- scribed, 121-150; its cosmology, 122,
Dante and "The Divine Comedy": considered, 105-155; how essay origi- nated, 107, 108.
Dante Alighieri: the time of his birth, 108, 109; relations to Beatrice, 109- 111; how qualified to be author of "The Divine Comedy," 111-114; his aim in his great work, 114-121; his scheme of the universe, 122-124; as a versifier, 124, 126; his " Comedy " described, 126-149; the most sensi- tive of poets, 150; his ruling concep- tion of heaven, 151, 152; his view of saintship, 152-154; an intense realist, 154; the voice of all centuries, 154, 155; why his work will endure, 155. "Daughter of the Voice, The," phrase explained, 366.
Dead, The, in Homer, 56.
"Death in the Desert, A," 395, 431, 438. "Death of the Duke of Wellington, Ode on, 473.
Deism: Upton upon, 337; isolates, 337; robs man, 337; makes nature a ma- chine, 337; separates man and na- ture, 337; in England, 415. Descartes, his "Treatise on Method," 339.
"Despair," Tennyson's, criticised, 518. Dewey, on creative imagination as evi- dence of unity of universe, 220.
heaven and hell, 134, 135; his "His- tory of Redemption," 246. Eliot, George: her double plots, 167; scepticism in her works, 209; knows the evangelical system, 292; exag- gerates heredity, 391; on Tennyson's plays, 483.
Emerson: on Goethe's "Elective Af-
finities," 296; on universality of beauty, 338; on duty and ability, 390. English tongue: influence of Bible on, 125; in Shakespeare's time, 172; Ba- con on, 173. Ennius: as predecessor of Virgil, 74; deficient in art, 74; his " Annals," 74; Virgil's use of, 76. Epic, the appeals to wonder, 10; a kind of story-telling, 32; its con- genial conditions, 32; a recreation, 35.
Epigraphy: Greek, 21-23; Latin, 24;
Hebrew, 24; Egyptian, 24; Baby- lonian, 24, 25.
"Epilogue, The," Browning's, 393. "Epilogue to Dramatis Personæ,' Browning's, 428.
Falstaff, his deathbed, 210. Fate, in Homer, 39. "Faust": its place among poet's works, 315; its features, 315–317; first part of, 317; second part of, 318–320; a criticism on second part of, 324, 325. "Ferishtah's Fancies," 394, 397, 405, 434, 443. Fichte, 338.
"Fireside, By the," of Browning, 384. "Flight of the Duchess, The," Brown- ing's, 384, 408.
Flint, on subjective tendency to pan- theism, 198.
"Francis Turini," Browning's, 438. Future life, Homer's views of, 55-59.
"Georgics," 79-81.
"Giaour, The," 380.
Gladstone, on Homeric question, 7. God as presented in Homer, 42, 53, 54; his immanence, 337.
Gods of Homer; characteristics of, 37, 38; inconsistently delineated, 38; why unmoral, 46. Goethe: on Homeric authorship, 6; his references to his own poems, 19; a dictum of, 129; "The Poet of Pan- theism," 279-331; compared with Luther, 281; parentage of, 283, 284; characteristics of, 284-286; his habit of falling in love, 287; his treatment of his mother, 288; affair of, with Frederike Brion, 288; writes the "Roman Elegies," 288; concubinage of, 289, 304, 305; his treatment of Kestner, 289; unpatriotic, 290; self- confident, 290; letter of, to Lavater, 291; influence on, of Fraulein von Klettenberg, 292, 293; his "Confes- sions of a Beautiful Soul," 292; with- draws from religious services, 294; his "Generalbeichte," 294; his "hea- thenism," 295, 296; his Spinozism, 296, 297; does not know true God, 298; the character of his philosophy, 298, 299; his religion of health and joy, 300; some truth in his philosophy, 300; an evolutionist, 301; loses hold on ethical distinctions, 301; old age of, 301, 305; his view of sin and re- pentance, 302; Tennyson's estimate
of, 302, 331; life of, at Weimar, 302, 303; spending a year in Italy, 304; connection of, with Frau von Stein, 303, 304; bereavements of, 306; moral sense of, quickened, 306; reply of, to Augusta von Stolberg, 306; letter to Zelter, 307; his offer of marriage declined, 307; visited by Thackeray, 307; death, 307; his "Goetz von Ber- lichingen," and criticisms thereof, 308; his "Sorrows of Werther," 309; the second period of his literary life, 311-315; third period of his literary life, 315; composes "Faust," 315, 316- 320; views of Christ and Christianity, 321, 322; why influential, 325, 326; style of, 326; relation of, to nature. 326, 327; lyrics of, 327, 328; his method of using Christian terminology, 320: his influence on modern fiction, 328; how a Befreier, 329; how a political liberator of Germany, 330; how an enslaver of Fatherland, 330; his defi- nition of nature, 364.
"Goetz von Berlichingen," 308, 309. Grail, the Holy, legend of, 478, 480, 510,
"Grammarian's Funeral, The," 444. Grote, on composition of "Iliad" and "Odyssey," 6.
Hamilton, Sir W., 389, 483. Hamlet, 159, 168, 181, 194, 200-206. "Hang-draw-and Quarterly," 460. Heavens, the, of Dante, 123. Hector, 9, 14, 41, 47. Hegel, 298, 416.
Hegenanism, its need, 392.
Helen: 41, 48, 60; marries Faust, 318. Hell of Dante, 122, 137. Hellanicus, a Chorizont, 5.
"Henry IV.": mentioned 180; Part I., 208, 213; Part II., 176, 198. "Henry V.": mention of, 179, 180, 204, 207, 210.
"Henry VI.": introduced, 178, 180; Part I., 198; Part II., 195, 201, 203-205, 208, 209; Part III., 189. Heredity, limited, 509. Hermes, 36, 38, 42. Hesiod, 79.
Historical plays of Shakespeare, 180.
Hohenstiel-Schwangau," 419, 421, 422. Homer: how estimated, 3, 4; Arnold's characterization of, 4; ancient criti- cism of, 5; Wolf's theory regarding, 5; a host of destructive critics at- tack, 6; conservative critics of, 6; his claim to works that bear his name defended, 7-17; how he discloses plot, 8-10; how he develops plot, 10, 11; objections to sole authorship of, 12; individual unity of each of the poems of, 13-17; what follows denial of unity of? 17, 18; various versions of poems of, how explained, 19; was there a written language in time of, 21-28; proof of unity of, not de- pendent on existence of written characters, 28-31; public apprecia- tive of the works of, 31-33; ideas of, about God, 35-44; doctrine of, con- cerning sin, 44-49; his doctrine of atonement, 50-55; his ideas of future life, 55-59; exhibits human life, 59- 62; influence of, 62, 63.
History and poetry compared, 163, 164. Hubris, 199.
Hutton on realism, 162; on Goethe's philosophy, 298; on Goethe's lyrics,
"Iliad": similar to " Odyssey" in dis- closure and development of plot, 7– 11; differs from "Odyssey," 12, 13; its unity, 13-16.
"Idylls of the King": subject of, 477; their story, 479–481. Imagination: its place and function, 160-163; God's, 166; needful to sci- ence and religion, 169; not fancy, 212; best poetical definition of, 361. Immortality in Homer, 55; Goethe's mature views of, 306, 307. "Intimations of Immortality": dis- cussion on, 353-360; its aim, 353; its argument stated, 355; quotations from, 356-360.
"Iphigenia," Goethe's, 313, 315.
Isaiah, differing style in, 232.
James, Henry, 388.
Lachmann, 6.
Lady of Tripoli," 408.
Lanier, Sidney, on individual freedom, 425.
"Laus Veneris," of Swinburne, 176. "Lear, King," 167, 181, 186, 197, 199, 205, Light, Dante's vocabulary of, 151. Limbo, 127.
"Locksley Hall," 465, 470-472. "Locksley Hall, Sixty Years After," 415, 516.
Love: its medieval classification, 139;
Milton's, 239; a means of insight, 360; its permanent prominence, 475, 476.
"Lucknow, The Defense of," 473. Lucretius, influence of, on Virgil, 75. Ludlow Castle, 276, 277. "Lycidas," 473, 492.
Lyric poetry, affected by aristocracies, 32.
Macaulay memory of, 30; best point in his essay on "Milton," 248. "Macbeth": discussed, 171, 187, 190; and " Richard III." compared, 191; and Lady Macbeth compared, 192, 193.
Man: and nature united, 336; the in- tegral, 360; explains all that leads up to him, 419. "Mariana," 460. Marlowe, 173, 176, 182.
"Martyr's Epitaph," 407.
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