tain an attitude of detachment, and to acquire criteria that would yield us as just a judgment of the work of Jonson and Pope as of that of Scott and Tennyson; and with an effort we may have succeeded in keeping our expressed opinions free from personal and contemporary bias. But since the reassertion of the place of imagination, now more than a hundred years ago, this quality has come more and more to be taken for granted as, in a special sense, the essential of poetry. We have suffered, and we suffer still, from a defect of the classical qualities, both in creation and in appreciation: we have much to gain from a greater reverence for tradition, a finer sense of the beauty of restrained and regulated form, a more rigorous intellectual discipline. But since we do not yet seem prepared to reach and to maintain ourselves upon the mountain top of perfect proportion, since we needs must belong to a party and find our inspiration in a one-sided view of truth, I cannot feel it is so unfortunate as some have found it that the dominant element in the poetry which most powerfully appeals to our generation is that of imagination. In an age when the progress of man's conquest of nature has brought him to a con
dition where the senses are wooed ever more and more insistently and seductively, when the house of a man's soul is cumbered with the abundance of the things that he possesseth, when the multifarious Actual clamors for our attention with a thousand tongues, when contemplation is an impossibility and leisure a dream, in such an age it is well that when we turn to poetry for solace and refreshment, we should find it animated by that faculty that
Uphold us, cherish, and have power to make
Our noisy years seem moments in the being
Of the eternal Silence.
Antæus, 137.
Anti-Jacobin, 57, 84.
Antique art not all "classical,"
101 ff.
Antony and Cleopatra, 176.
Arabian Nights, 40.
Aristotle, 1, 105, 114 ff.; on imi-
tation, 10; on the means em-
ployed in poetry, 11; study of,
in the Renascence, 18; Poetics
quoted, 41; on the universal,
41; and neo-classical criti-
cism, 114; and the probable,
115; and "seriousness," 193.
Aristophanes, 161.
Aristotelian theology, 54.
Arnold, Matthew, 100, 151, 243;
Sohrab and Rustum, quoted,
181; Study of Poetry, 190 ff.,
255 f.; his "high serious-
ness," 192 ff.; and Gray, 192,
196; and Chaucer, 191 ff.;
and Burns, 192 ff.; neglect of
humor, 255 f.; neglect of
structure in art, 255.
"Art for Art's sake," 102.
As You Like It, 243 ff.; quoted,
244.
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ory," 10, n. 1; his new science,
68.
Baillie, Grizel, 218.
Balance of qualities, chap. I
269; in the Renascence, 16 ff.;
in Shakespeare, 20 ff.; in the
critic, 25 ff.; in Pope, 124; in
Keats, 132 f.; in Landor, 133
ff., 196 ff.; symbolized by a
mountain, 168 f.; in Gray,
195 f.; and humor, 267.
Balzac, 271.
Bartholomew Fair, 162 f.
Bernbaum, E., 214.
Bishop orders his Tomb, The, 69.
Black-eyed Susan, 218.
Blake, his vogue delayed, 27,
49; quoted, 45; his imagina-
tive intensity, 202.
Braes of Yarrow, The, 218.
Browning, Mrs., quoted, 105.
Browning, Robert, 69; Old Pic
tures in Florence, quoted, 55;
Abt Vogler, quoted, 96; How
They brought the Good News,
201; quoted, 198.
Burns, 49, 73, 88, 202; quoted,
45, 147, 177, 193, 251, 265; and
democracy, 78 f.; his Realism,
146 ff., 166; classification of
his poems, 147; My Nanie's
awa, quoted, 148 f.; his lyric
quality, 147 ff.; his satire,
149 ff.; The Jolly Beggars,
150, 194, 245, 256, quoted,
186 f.; Intensity in, 177, 186
f.; and M. Arnold, 192; To a
Mouse, 220 ff.; and sentiment.
alism, 220 ff.; To a Daisy,
220 ff.; his poems to Clarinda,
222 f.; imagination and hu
mor in, 250 f.; Tam o' Shan
ter, quoted, 250; humor in,
256.
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.
Classicism, 8, chap. IV, 136; de
fined, 13; in antiquity, 10 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.
Decorum in neo-classic criticism,
115.
Definition of poetry, failure to
arrive at, 1 ff., 268 f.
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