In the following Index the Roman numerals refer to the Introduction, the Principles of Poetry; the Arabic numerals refer chiefly to the pages on the Progress of Poetry, its evolution, history, and the lives and works of English poets. The names of authors who are treated at length in this volume are printed in SMALL CAPITALS; titles of poems treated at length are printed in bold-face type; while the names of important titles mentioned in the book are indicated by italics. A liberal system of cross references in the Notes has rendered any detailed indexing of notes unnecessary.
Absalom and Achitophel, 102, 103 Accent: see Stress; hovering wrenched, lxvi; spondaic and de- ferred, lxvi
Acephalous verse, lxviii
Action, the poetry of, drama, xcviii-ci Addison, criticism on The Rape of the Lock, 114 Adonais, 220 Eneid, Surrey's translation, 37; Dry-
den's translation, 103
Esthetic emotions, the gradation of, cx Estheticism, in poetry, cv-cvi Esthetic Transition, a poet of the, 230; relation to the development of English poetry, 230
Alcaics, lxxxii, lxxxiv
Alexander's Feast, text of, 103-109; circumstances of composition, 496-497; criticism of, 497; notes on, 497-499; sound quality in, lxxii; as an ode, lxxxv
Alexandrine, the, lvi, lxxxiii Allegory, the, xcvi
Allegro, L', text of, 54-58; criticism of, 463; notes on, 464-467; as a reflec- tive poem, xcvii Alliteration, lxxvii-lxxviii Amphibrach, li, liv Anacrusis, lxvii Anapest, li, lii-liii
Ancient Mariner, The Rime of the, text of, 180-200; circumstances of com- position, 525-527; versification of, 527; notes on, 527-532; a part of the Lyri-
cal Ballads, 163; sound quality in, lxx; stanzaic structure of, lxxxi, lxxxii Andrea Del Sarto, text of, 301-308; story of, 556-557; circumstances of composition, 557; notes on, 557-559; as a dramatic monologue, ci Anglo-Saxon, element in English lan- guage, 3
Anglo-Saxons, conquest of Britain, 1–2; christianized, 2 Anticlimax, xlii, xlix Anti-pæon, liv
Antithesis, xlii, xlix Apocope, lxviii Aposiopesis, xlii, xlix Apostrophe, xlv
Architecture, xxix, xxxv, xxxvi Areopagitica, 53
Aristotle, on the drama, c
Arnold, Dr. Thomas, 163, 318, 563 ARNOLD, MATTHEW, comparison with Macaulay, 316; criticism of, 316-317; life of, 317-318; works of, 317-318. For poems, The Forsaken Merman,
Rugby Chapel, Dover Beach, and Re- quiescat, see titles under this index Arnold's test for high poetic quality,- its basis and value, cvi-cviii Art, and nature, xxv-xxvi; an inter- preter, communicator, and mediator, xxx; Goethe's definition of, xli; modi- fies nature, xxvi-xxvii; by rhythm, xxvii; and imitation, xxvii; social value of, xxx-xxxi; the grades of, xxxii; structural, xxxii-xxxiii; pre-
sentative, xxxiii-xxxiv; representative, | Bunner, H. C., his use of the triolet, xxxiv; interpretative, xxxv; creative,
lxxxviii Bunyan, John, 51, xcvi
Artist, the purposes of, craftsman, Burlesque, the, in drama, c
seer, creator, xxxii
Arts, the classification of, xxxv-xxxvi
Association, images of, xlii
Assonance, lxxviii-lxxix
Balance, xlii, xlix
Balaustion's Adventure, 296 Balder Dead, 317
Ballad, description of the, xcii-xciv, cii; form of stanza, 527; memory images in, xliii
Ballade, the, lxxxiii, lxxxix-xci
Ballads, the early, growth of, 35; influ- ence of, 35
Battle of Lake Regillus, The, 253 Battle of Naseby, The, 253
Belles lettres, xxxvii, xl Bells and Pomegranates, 295 Beowulf, 2, xciv
Biglow Papers, the, 333 Biographia Literaria, 180
Blank verse, introduction into England, 37; epic and dramatic, 37, lx; of Mil- ton, 37, 551; of Tennyson, 550, 551; | elocutionary pause in, lx; metrical pause in, lxi; phrasal pause in, lxi; variety of movement in, lxiii-lxiv; variety of stress in, lxiv-lxvi; number of syllables in, lxvi-lxviii
Blot i' the 'Scutcheon, 295, 296 Boccaccio, 5
Boke of the Duchesse, 6
Bonnivard, "the prisoner of Chillon," 533-535
BURNS, ROBERT, position among eigh- teenth-century poets, 126; criticism of, 145-146; characteristics of, 145; life of, 146; works of, 147; dialect of, 5, 145; as a presentative poet, xxxiv. For poems, The Cotter's Saturday
Night and Tam o' Shanter, see titles under this index
BYRON, GEORGE GORDON, LORD, com- parison with Shelley, 201; reputation abroad, 201-202; reputation in Eng- land, 202; criticism of, 202; life of, 202-203; works of, 202-204; his use of the ottava rima, lxxxii. For poems,
present home, 2, 4 Cenci, The, 220 Chant-royal, lxxxix
Browning, Elizabeth Barrett, 252, 295- Celts, early occupation of Britain, I; 296 BROWNING, ROBERT, comparison with Tennyson, 294; criticism of, 294-295; life of, 295-296; works of, 295-296. For poems, Home Thoughts from Abroad, Home Thoughts from the Sea, Evelyn Hope, My Last Duchess, An- drea del Sarto, Rabbi Ben Ezra, and the Epilogue to Asolando, see titles under this index Brut, Layamon's, 331
Chapman, his translation of Homer, 545; his septenaries, lxxxi CHAUCER, GEOFFREY, his position in English poetry, 5; criticism of, 6; life of, 6-7; works of, 7; his language, 34; imitators of, 34; early editions of, 35; versification of, 442, lxiv; his use of rhyme-royal, lxxxii; as a representa-
tive poet, xxxiv; pronunciation in, | Compleynte unto Pitie, 6 441-442, 443. For his Prologue to the Canterbury Tales, see title under this index
Childe Harold's Pilgrimage, stanzas from, text of, 216-218; remarks on, 201-202, 535; sound quality in, lxxiii, lxxiv; as a reflective poem, xcvii; 'touchstones' in, cvii Chivalry, poetry of, origin and history, 330-331; legends of the Round Table, 331; Idylls of the King, 331; The Vision of Sir Launfal, 331-332 Choral, the, xci, xcvii, cii Choriambics, lxxxiv
Choriambus, li
Chorus, the, lxxix
Classical school of poetry, its charac- teristics, 110, 505; contrast with Ro- manticism, 160; its heroic couplet, II-III; influence of Pope on, III; aims and influence, III; loss of pres- tige, 112
Classical stanzas, imitations of, lxxxi Classic, meaning of, civ
Complication, the, in drama, c Composed upon Westminster Bridge, text of, 176; notes on, 524 Comus, text of, 69-98; discussion of masque, 477; circumstances of com- position, 477-478; scenes of, 478; notes on, 478-494; as a masque, c; blank verse in, lxii; 'touchstones' in, cvii; source of poem's beauty, cx Connection, images of, xlii Consonants, their tonality, lxx; voiced and breath, hard and soft, lxx; ex- plosive and prolonged, lxxi Contiguity, figures of, xlvi Contrast, images of, xlii, xlvi Conventional school: see Classical school
Cotter's Saturday Night, The, text of, 147-153; criticism of, 512; notes on, 512-514; stanzaic structure of, lxxxiii; as an idyll, cii
Cowper, William, 126, 160 Crabbe, George, 126, 160, 162 Created image, the, xliii-xliv Creative expression, the, xxxix-l Crisis, the, in drama, c-ci
Classics, the, why so called, civ-cv; re- Criticism, the terms and laws of, as ap-
plied to poetry, ciii-cxi
Crossing the Bar, text of, 293–294; criti- cism of, 554; circumstances of com- position, 554
Climax, xlii, xlix; the, in drama, c Cloud, The, text of, 226-228; circum- stances of composition, 537; notes on, 537-538; as a lyric, xcvii COLERIDGE, SAMUEL TAYLOR, charac- teristics of, 178; criticism of, 178-179; life of, 179-180; works of, 180; con- nection with the Lyrical Ballads, 160; his account of the composition of The Andient Mariner, 525-526. For The Ancient Mariner, see title under this index Comedy, the, of character, manners, sit- Dimeter, liv-lv
Coming of Arthur, The, story of, 571-574 Commemoration Ode, 334, lxxxv
Common Measure (C.M.), lxxxi
Communal poetry, xci, xcvii
Defense for the English People, 53 Dénouement, in comedy, ci Descriptive poetry, xcvi Deserted Village, The, text of, 133-145; criticism of, 507; notes on, 507-512 Diæresis, lxviii Didactic verse,
Dobson, Austin, his use of the rondeau, lxxxvii; of the rondel, lxxxviii; of the villanelle, lxxxix; of the ballade, xc; of the pantoun, xci
Don Juan, 202-203; stanzaic structure of, lxxxii-lxxxiii
Compensation, metrical and elocution- Dover Beach, text of, 328-329; criticism
Drama, xxxvi; its development in Eng- | Epilogue to Asolando, text of, 315–316; land, 38, its temporary decline, 52; its remarks on, 562 revival, 101; subdivisions of, xcviii-ci; | Epithalamion, 40 definition and characteristics, xcviii, xcix; technique of, c-ci; tragedy, xcviii-ci; comedy, the, of character, manners, situation, xcix; technique of, ci
Dramatic blank verse, 37 Dramatic Lyrics, 295
Dramatic Monologue, the, 555, ci-cii Dramatic technique, c-ci Dramatis Persona, 296
DRYDEN, JOHN, criticism of, 101-102; life of, 102-103; works of, 103; as a dramatist, 102; his heroic couplets, 102; as a critic, 102; as a prose writer, 102. For his Alexander's Feast, see title under this index Dunciad, The, 113
Easter Day, 296
East Midland English, 5, 34 Ecphonesis: see Exclamation Edinburgh Review, 203, 254 Elegiac verse, lviii
Elegy, the, characteristics of, xcviii Elegy written in a Country Church- yard, text of, 128-132; criticism of, 504-505; notes on, 505-507; stanzaic structure of, lxxx; as an elegy, xcviii Elision, lxviii; in Chaucer, 8 Elizabethan Age, 37-38; its characteris- tics, 37, 38; development of its drama, 38; its lyric poetry, 38 Elocutionary pause, lix-lxi Emotions, the real and the æsthetic, poetry judged as affecting, cix-cx Empedocles on Etna, 317 End-rhyme, lxxvi-lxxvii
English language, a composite, 4; early development, 5; early dialects, 5; later development, 3 (footnote) English verse, by stress, li-lii Enjambement, lxiv; in the sonnet,
Epic blank verse, 37
Epic cæsura, the, lxii, lxvii
Erotesis: see Interrogation Essay on Criticism, 113 Essay on Man, 111, 113 Euphemism, xliii, xlix
Evelyn Hope, text of, 298-299; remarks on, 555; notes on, 555
Eve of St. Agnes, The, text of, 232-244; tradition underlying, 538; notes on, 539-542; stanzaic structure of, lxxxiii; as a metrical romance, xcvi Exclamation, xlii, xlix Excursion, The, 163
Fable for Critics, A, 333 Fables, Dryden's, 103
Faerie Queene, Stanzas from, text of, 41– 47; plot of, 459-460; plot of first canto, 46-47; metrical system of, 460; notes on, 460-462; stanzaic structure of, lxxxiii
Fancy and Imagination, xlvi-xlvii Farce, the, characteristics of, c Feminine cæsura, the, lxii Feminine ending, the, lxvii Feminine rhyme, the, lxxvii Ferrex and Porrex, metre of, 37
| Fifteenth Century, the, characteristics of, 34-35
Figures, the kinds of, xlii-xliii; poetic, xliii-xlvii; mock-logical, xlvii-xlix; rhetorical, xlix-l
Final suspense, the moment of, in drama, ci
Fitzgerald, Edward, quatrain of the Rubaiyat, lxxxi
Fixed forms of verse with refrain, lxxxvii- xci
Foot, the, by stress and by time, li-lii; kinds of, in English, lii-liv; kinds of, in Greek and Latin, li
Forsaken Merman, The, text of, 318- 322; criticism of, 562; notes on, 562- 563
Four-line stanzas, lxxx-lxxxii 'Fourteener," the, lxxxvii
Epic, growth and characteristics of, xciv- Fourteenth century, characteristics of the, xcvi
Franks, influence on the language of Hymn before Sunrise, 180 Gaul, 2, 3
French critical school, its characteristics, IOI, IIO; Service to English poetry, 101 French influence on English literature, 35, 101, 108, 109
French Revolution, the, 163, 201
Hymn on the Nativity, 53 Hyperbole, xliii, xlvii-xlviii Hypercatalectic verse, lxvii Hyperion, 232
Freytag, the technique of the drama, c-ci| Idealism, idealistic, meaning of the terms,
Gareth and Lynette, text of, 347-388; Idyll, kinds and characteristics of the, notes on, 577-581
Gaul (France), history of language, 2 Geoffrey of Monmouth, 330 Gest, the, xciii, xciv
Goethe, his estimate of Byron, 201; his definition of art, xli
GOLDSMITH, OLIVER, position among eighteenth-century poets, 125; criticism of, 132; life of, 132-133; characteristics of, 133; works of, 133. For his Deserted Village, see title under this index Gosse, Edmund, his terza rima, lxxx Gower, John, 6
GRAY, THOMAS, criticism of, 126; life of, 126-127; works of, 127. For his Elegy written in a Country Church- yard, see title under this index
Greek art and literature, its influence on
Keats, 231, 543, 544
Greek verse, by quantity, li
Harmony in verse; rhyme, lxxvi-lxxix Hendecasyllables, lv-lvi
Idylls of the King, origin of, 35; signifi- cance of, 346; criticism of, 346; history of, 346; list and dates of, 347; kind of epic, xciv, cii; story of The Coming of Arthur, 571-574; persons and places of the, 574-576; time occupied by the, 576; chief events narrated in the, 576; poetical nature and form of, 577. For the three idylls of this book,- Gareth ånd Lynette, Lancelot and Elaine, and The Passing of Arthur, see titles under this index
Iliad, Pope's translation of, 113; Chap- man's translation of, 231, 544, lxxxi Images, the image-making process, xli; primary and created, xli-xliv; of the memory, xli-xlii
Imagination and fancy, xlvi-xlvii Imagination, the process of, xli; repro- ductive, xlii
Heroic couplet, the, 102, 110-111, lv, lxiv | Initial rhyme, lxxvii-lxxviii
Heroic poem, the, xcv
Hero-saga, the origins of, xciii
Hexameter, liv, lvi-lviii, lxii
Hind and the Panther, The, 102 Historia Regum Britanniæ, 330 Home Thoughts, from Abroad, text of, 297; criticism of, 554; notes on, 554 Home Thoughts, from the Sea, text of, 297; remarks on, 554; notes on, 555 Horatius, text of, 254-274; remarks on, 545-546; notes on, 546-549; memory images of, xliii; sound quality of, lxx- lxxxi; stanzaic structure of, lxxxii Hous of Fame, 7
In Memoriam, 220; stanzaic structure of,
lxxxi; as an elegy, xcviii
Innuendo, xliii, xlviii Internal, or involved rhyme, lxxvii Interrogation, xlii, xlix Inversion, xlii Irony, xliii, xlix
Italian influence on English literature, 5, 35, IOI
It is a Beauteous Evening, Calm and Free, text of, 177; notes on, 524 Ivry, 253, 254
Johnson, Dr. Samuel, 112, 125, 133
Hunt, Leigh, friendship with Keats, 231, Jonson, Ben, 38, 51
Judgment, the, of poetry, civ-cxi
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