"Merchant of Venice," 180, 196.

44

'Merry Wives of Windsor," 182.

Midsummer Night's Dream," 168, 217.
Mill, J. S., 335, 376, 399, 410.
"Miller's Daughter," 458.
Milton: general treatment of, 222-277;
influence of Civil War upon, 68; his
epitaph on Shakespeare, 223, 224;
elements in his style called "Mil-
tonic," 224; his education, 233, 234;
his part in the struggle for civil lib-
erty, 235-239; marriage of, and its
sequel, 239-242; his blindness, 242-
246; the sphere introduced into
by "Paradise Lost," 246-250; its trag-
edy detailed, 250; reception of the
work of, by the public, 250-252; his
"Paradise Regained," its inception
and character, 252, 253; his didacti-
cism, 253, 254; scientific incorrect-
ness of and permanent popularity,
255, 256; his sense of form, 256; theo-
logical tenets of, 257-271; influenced
by Roger Williams, 271, 272; how
far tolerant in religion, 272, 273; in
what regard the poet of Protestant-
ism, 273-276.

Monism of Milton, 263; non-ethical,
of Spinoza, 298; ethical, of Brown-
ing, 422-425.

Monotheism, of Homer, 36.
"Much Ado about Nothing," 182.

"Nativity, Ode on the Morning of
Christ's," 68, 260.

Nature: according to Wordsworth,

364; according to Goethe, 364; its
best interpreters, 365; its relation to
God, 365.

Nemesis in "Richard III." and "Mac-
beth," 191, 192.

"Not-self," earliest perception of,
what? 160.

Oak explains acorn, 419.

Odysseus, 11, 14, 37, 38, 42, 49, 56, 57, 62.
"Odyssey," see "Iliad."

"One Word More," Browning, 380.
Optimism: often a matter of temper-
ament, 414; Christian, 434; Pan-
theistic, 434.

Ostracism, 27.

'Othello," 181, 201.

529

P as a symbol, 138.
"Palace of Art, The," 504, 506-508.
Pantheism has no method to restore
the rapsed, 318; fatal to Art, 325,
"Pantheism, The Higher," 488, 489, 499.
"Paradise Lost" and "Regained,"
see Milton.

Paradise, Dante's: consistent with
progress, 144: upward gravitation
in, 145; not a Mohammedan, 151.
Parleyings, The," 443.

'Parsifal," carried in memory, 29.
Paul, Jean, 392.

"Pauline," of Browning, 377.
Peisistratus, 5, 6, 18, 19, 28.

Penalty, its essence, 134, 506.
Pharaoh, hardening his heart, 49.
Phoenicia, 27.

'Pippa Passes," 392, 431.

Plato his view of imagination, 160;
banishes poets from his Republic,
160; his theory of pre-existence,
353; cave of, 368.

Poet, the expresses God's plan of
the universe, 166; presents the uni-
versal, 169; Wordsworth upon, 342:
"a maker," 379: described by
Browning, 379; not made by imagi-
nation alone, 388; idealizes, 388; is a
philosopher, 390; is not a fatalist,
390; has right views of God, 392; has
a moral aim, 455.

"Poet, The," of Tennyson, 454, 455, 460.
Poetry depends on form, 73; more
valuable than history, 163, 164; re-
constructs, 164; as described by
Milton, 167; and insanity, 168; Eng-
land's chief glory, 335; defined, 378,
379; imagination and facts in, 379;
creative, not a mere reproduction,
389; has an ideal and religious ele-
ment, 389-393; of the future, 412, 413;
definition of, 459; essentials to the
greatest, 523.

Pope, criticised, 338.

Portia, excellence of her delineation,
196.

Pre-existence of souls, 353-359.

"Princess, The," 466-469, 498.
"Profundis, De," 485, 486, 489.
"Prometheus," 391, 392.
Propitiation, in Homer, 51.
Purgatory difficulty of ascent to, 136;
has an ante-purgatory, 137, 139; com-
pared with hell, 138, 139; classifica-
tion of sins in, 139; is a process, 142;
mistakes engendered by teaching
concerning, 143.

Puritan theology: tends to Deism,
337; its mistakes, 415.

idea of, 52, 54, 55.

"Sage, The Ancient," 488, 499.

"Saisiaz, La," 438, 443.

"Samson Agonistes," 240, 241, 243.

"Saul," 393, 394, 395.

Schiller: on Weimar Society, 303; in-
fluence of, on Goethe, 303; his death,
305, 306.

Science, what? 162.

Seneca, "De Tranquillitate," 168.
Shakespeare his universality, 157-

220; his largeness, 159, 160; ex-
pressed what was best of his age,
171-173; is yet a new force, 173, 174;
his education, 174; his adventurous
youth, 175-177; the period of his
productive activity divided, 177, 178;
"in the workshop," 178; "in the
"world," 178-181: "out of the
depths," 181, 182; "on the heights,"
182. 183; his self-forgetfulness, 184;

his concessions to popular taste, 185;
his universality considered, 186; the
universal element present in his
creation of characters, 187-212; is a
great ethical teacher, 193; his secu-
larity a limitation of his univer-
sality, 194; not agnostic or natural-
istic, 195; his view of the divine
nature, 196; his view of human
nature, 197-211; his references to
work of Christ, 208, 209; his teach-
ings pure and sound, 210; the uni-
versal in his imagery, 212-214; the
universal in his diction, 214-216; his
invention limited, 217; the poet par
excellence of secular humanity, 217-
220.

Shelley, 3, 338, 408, 416, 521.

Sin in Homer, 44-51; Dante's classi-
fication of, 128-131; Dante's view of
nature and penalty of, 132-136;
Shakespeare's view of, 198-202; Mil-
ton's view of, 265; Goethe's view of,
302; Browning's view of, 434-439;
Tennyson's view of, 504-509.
Sonnets: of Shakespeare, 184, 185, 476;
of Milton, 244, 369; of Words-
worth, 369.

"Sordello," 402, 416.

"Sorrows of Werther," 309–311.
"Soul's Tragedy," 439.

"Spanish Cloister," 383.

Spinoza, 297, 298.

"Statue and the Bust, The," 384, 435.

"Strafford," 377.

Substitution, 51.

Suffering, how explained by Dante,

134.

Swinburne, 176, 376, 408, 414, 478, 479.
Taine, M., 171, 475.

Tennyson: 449-524; the promise of his
youth, 451-458; style of, 458-460; earli-
est publications of, 460, 461; some
characteristics of, 461-465; applies
the principle of divine order, 465-469;
poet of the pure affections, 469-471;
his mistakes extenuated, 471-473;
the greatest work of his life, 473–476;
writes "The Idylls of the King,"
476-482; dramas of, 482, 483; the ag-
nostic cast of his poems accounted
for, 483-485; inconsistent in use of

the words faith and knowledge,
485; his views of the derivation of
the soul, 486-489; not a pantheist,
489-493; believes in no personal ex-
istence before birth, 493-496; his con-
ception of nature, 496-502; fights ma-
terialism, 502; recognizes the abuse
of human freedom, 503; his pictures
of sin, 504-509; recognizes Christ as
deliverer, 509-514; the despondency
of his old age, 515-517; his two repre-
sentations of man's future destiny,
517-519; theology of, summed up, 519,
520; a religious guide, 521; wherein
a great poet, 521-523; his final hon-
ors, 523, 524.

Theology, a popular definition of, 36.
"Timon of Athens," 200, 201.
"Tintern Abbey, Lines Written
Above," Wordsworth's completest
statement of relation between God
and nature, 360–362.
"Tintern Abbey," a system of thought
in verse, 363-365.

"Titus Andronicus," 186, 196.

"Treatise of Christian Doctrine," Mil-
ton's, 257-274.

"Troilus and Cressida," 175, 182, 198.
"Twelfth Night," 197.
Twyn, his fate, 238.

Ulysses: referred to, 123; Shakes-
peare's portraiture of, 175.
Universality: key to unlock mystery
of Shakespeare, 186; its meaning,
186.

Universe, content of term, 380.

Vaughan, his metempsychosis, 354.
"Venus and Adonis," 176, 186.
Virgil: general treatment of, 65-103;
and Homer, 4; his presentation of
facts, 8; his age, 67-69; his birth and
education, 69-73; his devotion to the
Muse, 73-75; his characteristics as a
writer, 75-77; his writings, 77; his

531

"Eclogues," 77-79; his "Georgics,"
79-81; the" Eneid," 81-83; his posi-
tion among ancient poets, 83-87;
some special excellencies of, 87-91;
is theologically in advance of Ho-
mer, 91-94; a prophet of Christianity,
94-97; send-off of his work, 97; in-
fluences the faiths of his country-
men, 97, 98; in the estimation of the
Middle Ages, 98-102; the motive and
subject of his song, 102; expresses
the hope of the Augustan Age, 103.
Voltaire, on purgatory, 138.
Vulpius, Christiane, 289, 304-306.

Watson, William, 371, 459.

Watts, G. F., a collection of his paint-
ings, 375.

"Where Claribel Low Lieth," 460.
"Wilhelm Meister," 293.
"Winter's Tale," 182.

Wolf, his Homeric theory, 5, 6, 16.
Wordsworth: in general, 333-372; in-
fluence of, on Mill, 335, 336; the poet
of revival and revolution, 336-338;
his "Prelude," 338-341; why a rustic
poet, 341; awakes to his vocation,
342-344; deals with pre-suppositions
of Christianity, 344-346; his sister
Dorothy, 346-349; his friend Cole-
ridge, 349-352; his three greatest
poems, 352, 353; his "Intimations of
Immortality," 353-359; not a pan-
theist, 359, 360; his "Lines Written
Above Tintern Abbey," 360-362; his
"Tintern Abbey," 363-365; his "Ode
to Duty," 365-368; possesses a Chris-
tian spirit, 368, 369; is a great poet,
369, 370; tributes to his genius, 370-
372.

Xenon, a Chorizont, 5.

Zeus, 36-42.
Zola, 162, 388.

1813