Byron, 49, 88, 93, 202, 265; his
contemporary popularity, 27;
and Rousseau's "Golden
Age," 84 ff.; The Island,
quoted, 84 f.; his landscape,
91 ff.; Manfred, quoted, 91;
non-romantic elements, 129
ff.; and Pope, 130; Childe
Harold, 130, 232 ff.; his sat-
ire, 131 f., 165 f.; Don Juan,
131, 166; Hints from Horace,
165; English Bards, 165; The
Waltz, 166; and sentimental-
ism, 227 ff.; early lyrics
quoted, 230 f.; Oriental tales,
233 ff.; Don Juan, 235 ff.,
quoted, 236 f., 239, 248; sen-
timent and humor in Don
Juan, 239, 248 f.; a humor-
ist, 246 f., 265.

Calvinistic system, 18.
Carey, 218.

Castle of Indolence, The, quoted,
138 f.

Castle of Otranto, The, 57.
Cenci, The, quoted, 159.
Chateaubriand, 61.

Chaucer, Tales of Miller and
Reeve, 52; Realism in, 109 ff.,
167; Prologue to C. T., 256,
quoted, 109 f.; and M. Arnold,
191 ff.; Pardoner's Tale,
quoted, 193; alleged lack of
"high seriousness," 192 ff.;
Wife of Bath's Prologue,
quoted, 194; humor in, 256.
Childe Harold, 130, 232 ff.
Childless Father, The, 225 f.
Clarissa Harlowe, 215.
Classical, chap. iv, passim; dif-

ferent uses of the term dis-
tinguished, 102 ff.; Arnold's
definition, 102 f.; as antique,
104 ff.; in architecture, 106 f.;
vs. romantic, 106 f.; vs. real-
istic, 107 ff.; periods, 112 ff.

Classicism, 8, chap. rv, 136; de-
fined, 13; in antiquity, 104 ff.;
contrasted with romanticism,
106 f.; with realism, 107 ff.;
and the typical, 108; and the
traditional, 109; in Pope, 121
ff.; in Milton, 125 f.; in Ro-
mantic period, 126 ff.; in
Wordsworth, 128 f.; in Byron,
130 ff.; and satire, 131, 160,
265; in Jonson, 161 f.; in Mo-
lière's satire, 163 f.; and In-
tensity, 179 f.; and Humor,
245, 264 ff.

Coleridge, 1, 91, 93, 130; Kubla
Khan, 43 f., 91, 155; and the
French Revolution, 76 f.; Re-
ligious Musings, quoted, 76 f.;
Christabel, 91; The Ancient
Mariner, 91, 93; Frost at Mid-
night, quoted, 95; his imagina-
tive descriptions, 95 f., 155;
on the Lyrical Ballads, 224;
humor in, 246.

Columbus, 16.
Comédie larmoyante, 214.
Constructive Imagination, 37 ff.
Copernicus, 17, 68.
Coriolanus, 252.
Corneille, 113.
Corsair, The, 130.
Cotter's Saturday Night, The,
150; sentiment in, 205 f.;
sentimentalism in, 222.
Cowper, 88, 89; his Realism,
142 f.; The Task, quoted, 143;
and humanitarianism, 220 f.
Crabbe, 49, 81, 88, 89, 223; his
Realism, 143 ff.; his Intensity,

202.

Cranford, 188; quoted, 189.
Criticism, value of, 26, 270; neo-
classic, 114 ff.

Dante, 44, 192.
Decorum in neo-classic criticism,
115.

Definition of poetry, failure to
arrive at, 1 ff., 268 f.

Fabliaux, 52.

Falstaff, 256.

Fancy, 36 f. See Imagination.
Faust, 7, 44.

Feeling, rights of, 207 f.
Flaubert, 271.

Flowers of the Forest, The, 218.
Form in art, 11, 101 f.
French Revolution, The, 60, 61,
75 f.

Frost at Midnight, quoted, 95.

Gaskell, Mrs., 188 f.
Gawain and the Green Knight,
105.

Gay, John, 218.
Génie du Christianisme, 61.
Giaour, The, 130.
Godwin, William, 84.
Goldsmith, 144.

Gorky's Night Asylum, 187, n. 1.
"Gothic romances," 57, 58.
Götz von Berlichingen, 7.
Gourgaud, General, 59.
Gray, Arnold and, 192, 196;
Elegy, 195; a little master, 196.
Greek sculpture vs. medieval
art, 55.

Hardy, Thomas, 271.

Heine, 50, 52.

gusto in, 170.

Henry IV, quoted, 193.

Hints from Horace, 165.
Homer, 114, 192.

Horace, 114.

Humanism, 17.

Humanitarian movement, 220 f.
Humble life, poetry of, 79 ff.
Humor, in poetry, 31, chap. VIII;
defined, 242 f.; and reason, 245;
and the sense of fact, 245; ab-
sence of, in romantic poets, 246
f.; and imagination, 247 ff.,
265; sympathetic humor, 249
ff.; and pathos, 251 ff.; in trag-
edy, 254, 260; ironical, 257 ff.;
and Romanticism, 246 ff., 263;
and Classicism, 245, 264 f.;
and Realism, 245, 265 f.;
and Sentimentalism, 210, 216,
266.

Ibsen, 271.
Ideal imitation, 10 f.
Iliad, 104.

Imagination in poetry, 9, chap.

11; in the Renascence, 16 f.;
and memory, 33 ff.; and asso-
ciation, 35 ff.; and observation,
33 ff.; and fancy, 36; Con-
structive or Creative, 37 ff.;
Recollective, 33 ff.; in sci-
ence and philosophy, 38 f.;
as creator of mood, 44 ff.;
and the ideas of Time, Space,
Death, and Fate, 45 ff.; and
subjectivity, 65 ff.; and emo-
tion, 75 f.; and democracy,
76 ff.; and scenery, 89 f.; and
intensity, 177 ff.; in Arnold's
definition of poetry, 191; and
sentimentalism, 228 f.; and
humor, 247 ff., 265; and irony,
259 f.; and satire, 122 ff., 261
ff.; dominant in contemporary
poetry, 272 f.

Impressionistic criticism, 26.
Intensity in poetry, 28 ff., chap.
VI; other names for, 169 f.;
and the length of a poem, 172
ff.; Poe on, 172 ff.; illustration
of, 175 ff., 203; and imagi-
nation, 177 ff.; in classical
art, 178 ff.; and Realism, 184
ff.; and rhythm, 197 ff.; and
the balance of qualities, 203;
in Don Juan, 236 ff.
Iphigeneia, quoted, 133 ff.

Irony, 243; defined, 257 ff.; in
Shakespeare, 257 ff.; of
events, 258; of Fate, 258;
dramatic, 258; tragic, 258 ff.;
comic, 259.

I stood tip-toe, quoted, 94.

James, Henry, 271.
Jeffrey, Francis, 223 f.
Johnson, Samuel, 6, 27, 113, 124.
Jolly Beggars, The, 150, 194,

245, 256; quoted, 186 f.
Jonson, Ben, 272; as satirist,
161 ff., 265; Volpone, 161 f.;
Bartholomew Fair, 161, 162 f.

Keats, 7, 88, 130; Eve of St.
Agnes, quoted, 36; When I
have fears, quoted, 64; as ro-
mantic lyrist, 64 f.; his imagi-
native descriptions, 94 f.; I
stood tip-toe, quoted, 94; En-
dymion, 132, 157; quoted, 158;
excess of imagination in, 132;
Realism in, 156 ff.; Intensity
in, 185 f.

King John, 211, quoted, 252.
King Lear, 176, 254, 256.
Kipling, 271; quoted, 73.
Kubla Khan, 43 f., 91, 155.

Lady of the Lake, The, 154.
Landor, 133 ff., 238; his lack of
intensity, 196 ff.; Rose Ayl-
mer, 197; Iphigeneia, quoted,
133 f.; Hellenics, 197.

Laodamia, 128 f.
Lay of the Last Minstrel, 3.
Lewis, "Monk," 57.
Lines written above Tintern Ab-
bey, 42, 151.
Litany (Nashe's), quoted, 46.
Literary epochs, 5, 6.
Longfellow, 206.

Luther, 69.
Lycidas, 180.
Lyric, predominance of in Ro-
mantic periods, 61 ff.; in the
eighteenth century, 62 f.; in
Burns and Shelley, 147 ff.
Lyrical Ballads, 3; plan of,

224 f.

Macbeth, 176.

216.

Macpherson, James, 219 ff.
Manfred, quoted, 91.
Man of Feeling, The, 216.
Marlowe, quoted, 46.
Marmion, quoted, 155 f.
Maupassant, 271.
Measure for Measure, quoted,
249 f.

Medieval element in Romanti-
cism, 50 ff.

Medieval religious spirit, 54.
Meredith, 141.
Michelangelo, 16, 68.
Middle Ages, other-worldliness
of, 19; and Romanticism,
50 ff.; not stationary or uni-
form, 51 f.

Milton, 192; on passion in po-
etry, 28; Paradise Lost,
quoted, 45, 179; our greatest
classical poet, 126; Samson
Agonistes, 126, 179, quoted,
176; Lycidas, 180.

Mock-epic, 261.
Mock-heroic, 261.
Molière, 113; and classical sat-
ire, 163 f.
Mont Blanc, quoted, 92.
My Nanie's awa, quoted, 148.
Mysteries of Udolpho, The,
57.

Nashe, quoted, 46.
Nature, meaning of, in 18th cen-
tury, 115 f. See Return to Na-

ture.

Neo-classicism, 114; and pseudo-
classicism, 118, n. 1.
New World, discovery of, 16.
Northanger Abbey, 57.

Observation, poetic vs. scientific,
33 ff. See Sense of fact.
Occasional poetry, 226 f.
Ode on a Grecian Urn, 133.
Ode to a Nightingale, 133.
Odyssey, 104 f.
Old English Baron, The, 57.
Ossian, 218 ff.

Othello, 115, 176.

O world, O life, O time, quoted,
148.

Paradise Lost, quoted, 45, 179.
Pardoner's Tale, quoted, 193.
Passion and sentiment, 204; and
sentimentalism, 209; in Don
Juan, 236 ff.
Pater, Walter, 90 f.; quoted, 7.
"Pathetic fallacy," 149.
Pericles, Age of, 16.
Phidias, 16.

Philips, Ambrose, 144.
Plato, romantic elements in, 105.
Platonic element in medieval
mysticism, 54.

Poe, E. A., 172 ff., 178; quoted,
173.

Poetic diction, 141 f.
Poetics (Aristotle's), 41.
Poetry, definition of, 1 ff., 268 f.;
a compound, 2, 268; Arnold's
definition of, 191.

Pope, 6, 64, 70, 88, 113, 126,
139, 161, 164, 192, 261 f., 272;
Rape of the Lock, 121 f.;
quoted, 72; Essay on Criti-
cism, quoted, 116 f.; and the
ancients, 116 ff.; poetical qual-
ity of, 119 ff.; his satire, 122 ff.;
Epistle to Dr. Arbuthnot, 165,
182, quoted, 123; Essay on
Man, 127; and Byron, 130;
Windsor Forest, 141; pas-
torals, 144; Dunciad, quoted,

262 f.

Prior, 218.

Prometheus Unbound, quoted,
45.

Protestant Reformation, 17 f.
Pseudo-classic, 118 and n. 1.
Pseudo-medievalism, 56 ff.
Pseudo-romanticism, 56 ff.
Puritan Revolution, 71.

Racine, 113.
Radcliffe, Mrs., 57.
Ramsay, Allan, 218.

Rape of the Lock, The, a classical
masterpiece, 121 f.

Rape of the Lock, The, quoted,
72.

Realism defined, 13; in descrip-
tions of Thomson, 89; of
Cowper, 89; of Crabbe, 89;
vs. classicism, 107 ff.; and
sense of fact, chap. v; often
ignored in poetry, 136 f.; in
prose fiction, 138, 271; con-
fused with Romanticism,
138 ff.; in Thomson, 139 ff.;
in Cowper, 142 ff.; in Crabbe,
143 ff.; in Burns, 146 ff.; in
Wordsworth, 151 ff.; in Scott,
154 ff.; in Keats, 157 f.; ab-
sence of, in Shelley, 158 ff.;
in Ben Jonson, 162 f.; in
Chaucer, 167; and Intensity,
183 ff.; and humor, 245, 265 f.
Reason in art, 11; in the Re-
nascence, 17 ff.; in the Middle
Ages, 54; and Classicism,
chap. IV.; defined as a factor
in literature, 100 ff.; and the
neo-classic rules, 118; in
Pope, 119 ff.; and the per-
ception of incongruity, 245.

re-

Reeves, Clara, 57.
Renascence, as exhibiting bal-
ance of qualities, 16 ff.;
turn to nature" in, 68 f.
"Renascence of Wonder," 90.
Resolution and Independence,
quoted, 184 f.

"Return to Nature," 50; as a
phase of Romanticism, 68-96;
ambiguity of phrase, 68 f.;
in the Renascence, 68 f.; and
Rousseau, 74; used of human
nature, 71-87; used of exter-
nal nature, 87-96.
Reverie of Poor Susan, The, 81.
Richard II, quoted, 211 f.
Richard III, 252.
Richardson, Samuel, 215 f.
Rhythm and Intensity, 197 ff.;
imitative, 198; suggestive,