Absalom and Achitophel, 41
Absolutism, 394

Academies, 15, 16, 37, 279

Academy, the French, 13-14, 15-16, 19,
2281

Addison, 23, 150, 330, 331, 333
Eneid, 50-2

Eschylus, 101, 103, 104, 119, 126, 217
Esthetic philosophy, 161, 168-9
Affectation, 32, 297, 405
Agathon, 93, 122

Allegory, 344, 365-6

Analysis in Art, 148, 249

Analysis of Beauty, 172
Anglo-Saxon Culture, 315-23
Language, 307
Race, 300-4

Versification, 304-15
Anthology, the Greek, 98-9
Antigone, 26, 216
Anti-Jacobin, The, 396
Apollo Belvedere, 293
Apollonius Rhodius, 94-7, 109
Apology for Poetry, 69

Argonautica, 94

Aristocracy, English, 130-1
Aristophanes, 27, 103, 216, 217
ARISTOTLE AS A CRITIC, 190-221; life of
Aristotle, 190-1; his vast authority;
opposition to his authority in Eng-
land, 192-3; main principles of
his criticism: (1) object of Poetry,
Imitation, 193-6; (2) object of
Poetical Imitation, the Universal not
the Particular, 196-209; examples
of the Universal in Poetry, Scott's
Heart of Midlothian, 200-1; Jane
Austen's Pride and Prejudice, 201-2;
examples of attempts to imitate the
Universal by means of analysis, Ben
Jonson, 204; Balzac, 204-5; absence
of the Universal in modern novels,
206-9; (3) test of true Imitation,

Universal Pleasure, 209-10; dis-
regard of Social Pleasure as principle
of Fine Art by modern artists, 211;
Naturalists, and Impressionists, 211-
13; Aristotle's critical defects;
exaggeration of Logical Analysis,
213-16; want of poetic sensibility,
216-18; distinction between Aris-
totle's Universal Laws of Art and
his Bye-Laws, 218-19; misrepresenta-
tion of Aristotle's Poetics by the
scholars of the Renaissance, 219-20;
elucidation of the treatise by modern
scholars, 220; Professor Butcher's
edition of the Poetics, 221
Aristotle's Rules, 279-84, 331-2
Arnold, Matthew, 7, 9, 15, 20, 23-4,
42, 111, 135-8, 269, 437-8
Ars Poetica, 43, 117, 210, 237
Art Poetique, Boileau's, 238-43
Art Poetique, Verlaine's, 116-17
Atalanta in Calydon, 139
Atticus, character of, 56
Aubigné, 226, 289
Ausonius, 99, 100
Austen, Miss, 201-2

AUTHORITY IN MATTERS OF TASTE,
3-33; Professorship of Poetry, 3;
indefinite functions, 4; founder of
Chair; his life and character, 4-5;
holders of Chair, 6-8; denial of
authority in taste, 8; tendency of
self-culture, 9; De gustibus non est
disputandum, 10-13; necessity of
authority in taste, 13; various courts
of authority in taste, 13-19; the
Academy, 13-16; the Coterie, 16;
Public Opinion, 16-18; the Press,
18-19; defects in these courts of
authority, 19; education of taste,
20; essential qualities in criticism,
20; consequences of unjudicial spirit
in criticism; Croker and Keats,

Butcher, Professor, 70 (foot-note), 215,
220-21, 432

BYRON as a representative of Law in
English Poetry, 388-407; Macaulay's
theory of decline of Poetry, 388; ex-
amined, 389-90; Lyric Poetry product
of self-conscious stage of society,
391; Rousseau, pioneer of European
self-consciousness and Romanticism,
391-2; distinction between Shake-
speare's self-consciousness and Rous-
seau's, 392-3; effect of self-con-
consciousness on creative art of
Rousseau, 393-4; reaction from Ab-
solutism to Romanticism in Europe,
394-5; checked in England by
constitutional system, 394-5; pro-
gress of Romanticism in England,
395-7; Byron the most self-conscious
of poets, 397-8; examples of his self-
consciousness, 398-9; mixture of
aristocratic feeling with his Romantic
self-consciousness, 399; effect of the
mixture on his poetry; failure in
epic and dramatic constructiveness,
400-1; his lyric self-consciousness

the vehicle of expression for uni-
versal feelings, 402-3; uses epic,
dramatic, and satiric forms lyrically
as vehicles of self-consciousness,
403-4; his power of poetical ex-
pression, 405-6; Macaulay's descrip-
tion of his mixed and representative
genius, 406-7

Cadmon, 300, 301, 304, 315, 316
Callimachus, 98-9, 109

Cambridge, University of, 28

Canada and "Our Lady of Snows," 145
Canadians, 145

Cain, 399, 401

Canterbury Tales, The, 318-28

Caravaggio, 91

Cartwright, William, 5

Cassandra, 118

Castelvetro, 279, 282
Castiglione, 21

Centuries, the drama of the, 420
CHAUCER, as representative of Law in

English Poetry, 299-328; question
as to Chaucer's title to be called
Father of English Poetry, 299-300;
mixed character of English Poetry
begins with Chaucer, 300; mixture
of races in England reflected in his
birth and education, 301-4; in his
language and versification, 304-15;
charge against Chaucer of corrupting
the language, 304-6; natural changes
in Saxon grammar, 306-8; natural
changes in Saxon versification, 308-9;
Chaucer's combination of Saxon and
French in his verse, 309-15; mixture
of English and Continental culture
reflected in Chaucer's Poetry, 315-24;
domination of ecclesiastical influence
in Saxon Poetry, 315-6; Chaucer
contrasted with Langland, 316-23;
Chaucer's mixture of secular and
religious interests, 318-20; of art
and morality, 320-1; of insular and
continental ideas, 321-4; Chaucer's
humour representative of English
genius, 324-5; the "universal'
character of Chaucer's genius, 326-8
Childe Harold, 403, 404, 405
Chivalry, 379-80
Christian, The, 206

Christ's Death and Victory, 369
Cid, The, 234-5

Clarissa Harlowe, 74
Classes, decline of, 128-35
Classical authority, 24-7

Classicists, French, 242-3, 248, 249
Cleveland, John, 5
Cobden, 425

Coleridge, 63, 82

Comedie Humaine, 204-5
CONCLUSION, 419-44; survey of pro-
fessorial period, 419; political coin-
cidences, 419-20; the Nineteenth
Century, its character, 421; spirit of
individual liberty, 421-4; optimism,
422-3; pessimism, 423-4; examples
of consequences of laisser faire in
commerce, religion, art, 425-7; con-
sciousness of aim in the State, 427;
survey of lectures, 428-31; necessity
of recognising Law in Taste, 427-8;
Law of the Universal, 431; authority
of Aristotle's Poetics, 431-2; law of
national character, 432; authority
of representative national critics,
432-3; authority of humanist educa-
tion, 433-4; Sir Richard Jebb on
Humanism in Education, 434-6;
humanist education in the Univer-
sities, 436-7; self-culture in the
University of Oxford, 437-8; its re-
sults, Professor Saintsbury's view,
438-9; taste and morals, 439-40;
reaction against humanism in educa-
tion, Lord Rosebery's view, 440-1;
true aim of University education,
441-2; imperial culture, 442-3; the
Law of Liberty in Education, 443-4
Confessions, Rousseau's, 391-3
Contraries, reconciliation of, 292-3
Contrat Social, 395

Corneille, 231-5, 252, 260
Correctness, 361, 381-2, 384-5
Corsair, The, 401

Cosmopolitanism, German, 263
Coteries, 16, 109-10, 297

Cowley, 106-8, 129, 370, 378, 380
Cowper, 396

Crashaw, Richard, 371-3, 376, 378
Criticism, 20-4, 37-8, 159-61, 183-9,

Dichtung und Wahrheit, 255
Diderot, 231, 242

Difficile est proprie communia dicere,
48, 57

Discordia Concors, 367, 373

Discourse on the Three Unities,
Corneille's, 231-4

Discourses on Painting, 25, 292
Divine Comedy, 67, 322, 333, 335-9, 355
Dolci, Carlo, 91
Döllinger, 28, 443
Dolores, 82

Don Carlos, Schiller's, 261
Juan, 404, 405
Quixote, 252, 325

Donne, 129, 378
Dryden, 41-2, 87, 281, 309
Dürer, 252

Elegy, Gray's, 57, 264
Emilia Galotti, 260

English Bards and Scotch Reviewers,
399, 403-4

English Character, 285-6
Drama, 101-2

History, 287-8

Language, 286-7

School of Language and Litera-
ture at Oxford, 29-31, 442

Ennius, 305, 325

Epic Poetry, 94-7, 102, 241-2, 347-9
Epistle to Arbuthnot, Pope's, 381,
385

Erasmus, 27, 291

Essay on Criticism, 237-8, 278-84,
292, 361-2

Essay on Man, 297, 378, 394

Euripides, 103-4, 105, 127, 178, 217
Every Man in his Humour, 195
Every Man out of his Humour, 195
Excursion, 76

Faery Queen, 102

Faust, 253, 266-7, 295, 400

Feudalism, 289, 318, 336-9, 430

Filostrato, Boccaccio's, 323

Flaubert, Gustave, 249

Fletcher, Beaumont and, 280

Giles, 369-70, 378

Phineas, 368-9, 378

France, Anatole, 250

Free Trade, ideal of, 425
French Character, 224

Drama, 172, 230-7
History, 224-5, 288

Language, 286

Metres in English, 308-15

Poetry. See Idea

Revolution, 60, 225, 248, 394-7

Words in English, 306-8, 313, 314

of

IDEA OF LAW IN ENGLISH POETRY,
278-98; Pope's view in Essay on
Criticism, 278; examination
Pope's view, 279-84; English national
character, 285-6; English language,
286-7; English character compared
with French and German character,
287-91; main characteristics of
English character the reconcilia-
tion of contrary principles, 292;
character reflected in English Art
and Literature; Sir Joshua Reynolds's
definition of Art, 292-3; examples
of reconciliation of contraries in
English Poetry; Vision of Piers the
Plowman, 293; The Canterbury
Tales, 293-4; Satires of Pope, 294;

poetry of Byron and Tennyson, 294;
test to be applied in judging con-
temporary poetry, 294-8; popularity
and singularity both inadequate tests
of genius, 294-7; the Universal
truth of classic English Poetry lies
in the just mean between the two,
297; examples of characteristic ex-
pression in English Poetry, 298
IDEA OF LAW IN FRENCH POETRY,
222-51; difference in the develop-
ment of Greek art and the art of
modern nations, 222-24; French
national character and history re-
flected in French literature, 224-5;
French literary parties, 225 - 6 ;
party of the chivalrous aristocracy,
its qualities, 226-7; party of the
bourgeoisie, its qualities, 227;
Molière, 228-9; La Fontaine, 229-
30; French character reflected in
French drama, 230-1; Corneille,
Discourse on the Three Unities, 231-7;
French character reflected in French
criticism, Boileau, 237-43; conflict
between Classicists and Romanticists,
243-4; Victor Hugo, Preface to
Cromwell, 244-5; resemblance
between The Cid and Cromwell,
246; Théophile Gautier, Emaux
et Camées, 246-7; resemblance
between ideals of Boileau and
Gautier, 247-8; conflict between
Classicists and Romanticists con-
tinued between Naturalists and
Impressionists, Gustave Flaubert,
Anatole France, 249-50

IDEA OF LAW IN GERMAN POETRY,
252-77; results of German art,
252-3; German character described
by Tacitus, 253; exhibited in their
representative men, 254; individual-
ism in German history, 254-5;
absence of national principle in
German literature, 255-6; Klop-
stock's Messiah contrasted with
Paradise Lost and Paradise Re-
gained, 256-8; German char-
acter in German drama, Lessing,
Schiller, Goethe 258-62; German
genius for lyric poetry, 262;
cosmopolitan tendency in German
literature of the eighteenth century,
Herder, 262-3; futile attempt to
express civic ideas in German lyric
poetry of eighteenth century,
Frederic Schubart; Die Fürstengruft
contrasted with Gray's Elegy, 264-5;
German genius for lyric poetry
reflected in Faust, 266-7; in Heine's