Contemplation, spirit dominant from
Wordsworth to Keats, 301-319.

Cowley, 41.

Cowper, 17, 20, 45, 307.

159, 163, 164, 170, 172, 174, 192, 197,
276.

Grotesque art, see Humor.

Dalton, 7.

Dante, 2, 17, 34, 44, 72, 145, 182, 226,
227, 245, 267, 283, 297, 305; Com-
pared with Shelley, 96-144.

Quotations from: Divina Com-
media, Par. iii., 139; xiv., 125, 126;
xxxi., 103; Purg. xxvii., 141; xxx.,
105; xxxi., 125.

Darwin, Charles, 7, 11, 36; Origin of
Species, 10.

Darwin, Erasmus, 54.

Decadence, notes of, in modern po-
etry, 292-296.
Dekker, 214.

Delusions, as treated by Browning,
224-227.

Democracy, 1, 2, 3, 5; Wordsworth's

relation to, 57-95; feeble in Victo-
rian poets, 206; social, struggle for,
inaugurated, 242, 278; power on
modern poetry, 297, 298, 299, 317.
Dickens, 214, 215, 241.
Dobson, 148, 214.

Donne, 30, 32; quoted, 30.
Doubt, poetry of, see Agnosticism.
Dowden, Edward, quoted, 161.
Drama, appearance of, in Victorian
age, 320; in Browning, 329; old
English, 149, 150, 216, 218.

East, religion of the, 319.
Eclecticism, in first and second re-
naissance, 190-196.

Edinburgh Review, 31, 241.
Elizabeth, art of the age of, 41, 43,
149-151, 155, 158.

Emerson, 72, 201, 207, 291, 313;
quoted, 22, 201, 308.

Eros, Greek, medieval, of the renais-
sance, 173, 174, 195.
Evolution, see Science.

Harvey, quoted, 31.
Heine, 228.
Holland, Lady, 242.
Homer, 44, 48, 118.
Hugo, Victor, 234.

Humor, character of, in early litera-
ture, 29; in modern, 31; inconsis-
tent with idealism, 202-205; nature
of, 207; grotesque art, 216, 217,
218; ironic art, 218; relation to
pessimism, 230.

Idealism, devoted to practical reform,
81; in art, 96; relation to politics,
102; relation to humor, 201, 202;
dominant in revolutionary poets,
301-317.

Immortality, theme of In Memoriam,

12, 282, 285-289, 334; conquest of, by
the poets, 321-327, 334, 339, 340, 342.
Individualism, place in development
of democracy, 66, 92-94, 298; in
Dante, 119.

Industry, modern system of, 73, 74,
297; Wordsworth's attitude towards,
78-89; revolt against, 242, 243.
Ironic art, see Humor.

Jeffrey, 84.

Keats, John, 46, 61, 66, 71, 152, 155,
180, 185, 197, 198, 203, 226, 240, 241,
270, 281, 307; exponent of neo-pa-
ganism, 156, 159, 163, 171; spirit of
contemplation in, 302-303; religion
of, 309, 313, 315, 317, 329.

Poems mentioned: To Autumn,
302; Endymion, 146, 152, 156; Eve
of St. Agnes, 147, 185; Hyperion,
147, 156, 160, 179; Lamia, 147, 156;
To Melancholy, 302; To a Nightin-
gale, 302; On a Grecian Urn, 302;
prose quotation, 273.

Poems quoted: Endymion, 302;
Hyperion, 47; Ode to Melancholy,
302; Ode to Psyche, 156; Ode on
a Grecian Urn, 313; Ode "Bards
of Passion and of Mirth," 303.
Kempis, Thomas à, 267.

Kingsley, Charles, 22, 177, 178, 181;
Saints' Tragedy, 177, 179, 182;
lines quoted, 181.

towards, 81, 91.

Gray, 17.

Greece, 145, 149, 150, 155, 156, 158,

Lanier, 175.

Law, sense for, absent in Elizabethan
age, 41; present in Augustan age,

41; in modern age, 43; Words-
worth's reverence for, 69, 70, 90;
Shelley's hatred of, 103, 139, 140;
Dante's reverence for, 139.
Liberty, Wordsworth's conception of,
70, 90; importance in the revolu-
tion, 106, 107, 143; Dante's concep-
tion of, 139, 141, 142; Shelley's con-
ception of, 140; Swinburne's con-
ception of, 280.
Lincoln, quoted, 75.
Luther, 148.

Macaulay, 74, 84, 241.

Malory, Sir Thomas, 178; Morte d'Ar-
thur, quoted, 22, 23.
Maurice, F. D., 242, 281.

Middle Ages, the, expressed in the
Divine Comedy, 96, 97; Influence
in modern literature, 172-185.
Mill, John Stuart, 242, 243.
Millet, 76, 77.

Milton, 17, 19, 22, 203, 245, 253, 254,

283; Paradise Lost, 19; Lycidas,
269; quoted, 19; Paradise Lost,
Book VII., 254.

Modern Painters, 88.
Moore, 241.

Morris, William, 1, 50, 53, 136, 323;
compared with Wordsworth, 89, 90,
94; influenced by the past, 148, 157,
177, 178, 186, 194, 197; conception
of life, 244, 269, 270, 274-278, 279.

Poems mentioned: The Earthly
Paradise, 157, 276; Sigurd the Vol-
sung, 276.

Poems quoted: The Earthly Para-
dise, Ogier the Dane, 51; Epilogue
to The Earthly Paradise, 277.
Motion, in modern nature-poetry, see
Change.

Mysticism, 35, 176, 180, 183, 184; rela-
tion to realism, 195, 200, 202, 275,341.

Nature, modern attitude towards, 10,
11, 12, 14-22, 33-37, 45-51; Shelley's
impersonation of, 130-136, 143;
return to, watchword of the rev-
olution, 154; Arnold's attitude
towards, 256-259; Tennyson's con-
ception of, 287-289; spiritual mes-
sage of, to poets of the revolution,
306-314; to Victorian poets, 319.
Neo-paganism, first appearance of in
Shelley, 100, 131; in modern po-
etry, 156-172; phase of first renais-
sance, 191, 192.

Newman, Cardinal, 176, 178, 181, 183,
242, 250; Dream of Gerontius, 176,
179; Callista quoted, 179.
Nihilism, possibility of in the future,
294, 295.

Obedience, true principle of poetry,
43; central word of Dante, 139;
fresco by Giotto, 172.

Politics, the attitude of the idealist
towards, 102; in Dante, Spenser,
Shelley, 102, 103; effect of on
Wordsworth, 73-75.

Pope, 158; Essay on Man, 27.
Pre-Raphaelitism, affinity for the
past, 147, 148, 197; for the Middle
Ages, 174, 177; for the renaissance,
186, 193; seriousness of, 204; chro-
nological place of, 244; spiritual
progression in, 269-280.
Psyche, symbol of the soul, 195.
Pusey, 250.

Rabelais, 202, 223, 226, 230.
Raleigh, 155.

Raphael, 187, 191, 195.

Realism, controlling modern poetry,
37-41, 61, 298; resultant enlarge-
ment of poetic scope, 43-51; dan-
gers and safeguards of, 53-56; pre-
sents life individualized, 96; rela-
tion to mysticism, 195, 200, 202,
270, 275, 341; relation to humor,
202, 204, 206, 207, 215; dominant in
Victorian poets, 301, 317, 341.
Rebel, significance of as hero, 108.
Redemption, revolutionary concep-
tion of, 14; ideals of, mediæval and
modern, 96-144; growing cry for,
328-332; met in Christianity, 333-
340.

Reflection, poetry of, characteristic-
ally modern, 2, 61; formed by ev-
olutionary methods, 26-28; expres-
sion of doubt, 239, 240, 244-246; in

Arnold and Clough, 247-268; In
Memoriam, best instance of, 281-
292; fusion with dramatic method,
320.

Reformation, the, 96.

Reform Bill, Wordsworth's feeling
for, 74, 75.

Reign of Terror, the, 67.

Renaissance, the, reflected in Spenser,
96, 97, 107, 113, 114, 118; influence
on modern literature, 185-196, 198,
199.

Renan, 294.

Revolution, power inherent in the, 2;
idea of progress in the, 13, 14; re-
lation of Wordsworth to, 60, 64–71;
religious ideals of, expressed in
Shelley's Prometheus Unbound, 97–
144; spiritual outlook of poets of
the, 301-316, 317, 320, 321, 323, 341.
Rogers, 241.

Romanticism, 61, 175, 176, 180, 270,
275, 281.

Rome, 149, 155, 161.

Rossetti, Dante Gabriel, 22, 31, 148,
197, 254, 255; affinity for the Mid-
dle Ages, 177, 178, 182, 183; for the
renaissance, 186, 193, 196; chrono-
logical place in Victorian age, 244;
head of the poets of art, 269, 270,
271-274; compared with Morris,
275, 277, 278; compared with Swin-
burne, 278, 279.

Poems mentioned: Ave, 275; The
House of Life, 274; Jenny, 148;
Last Days, 274; Rose-Mary, 273;
Soothsay, 274; Staff and Scrip, 183;
World's Worth, 275.

Poems quoted: The Portrait, 31;
Mary's Girlhood, 272; The Cloud-
Confines, 273.

Rossetti, William Michael, quoted, 136.
Rousseau, 154.

Ruskin, 186; compared with Words-
worth, 87, 88, 89; Fors Clavigera,
87; Modern Painters, 88.

Science, modern, 2, 3, 68, 146, 204,
297, 299, 300, 319, 321; influence on
modern poets, 5-56; work accom-
plished, 57; factor in first and
second renaissance, 187, 195; ap-
pearance in Victorian age, 243, 244;
influence on Tennyson, 281, 289;
French view of the result of, 293-
295.

Schopenhauer, 295.

Scott, 24, 174, 175, 176, 183, 270.
Shakespeare, 15, 24, 32, 38, 44, 59, 118,
145, 149, 150, 155, 203, 246, 254, 297.

Works mentioned: Antony and
Cleopatra, 150; Coriolanus, 149,
150; Hamlet, 38, 118, 150; Henry
IV., 145; Julius Cæsar, 38, 148,
150; Lear, 149; Macbeth, 17, 38,
149; Midsummer Night's Dream,

149; Othello, 220; Pericles, 155;
Romeo and Juliet, 220; The Tem-
pest, 145, 246.

Passages quoted: Sonnet, 15;
Macbeth, 254.

Shelley, Mary, journal quoted, 92.
Shelley, Percy Bysshe, 2, 3, 7, 14,
15, 21, 36, 44, 47, 50, 147, 156, 161,
197, 203, 207, 208, 209, 213, 219, 226,
239, 240, 241, 243, 249, 256, 257, 283,
296; compared with Wordsworth,
as pioneer of social democracy, 57,
58, 59, 61, 66, 67, 69, 72, 81, 84, 91,
92, 94; religious and social ideals,
compared with those of Dante, 96-
144; spiritual outlook of, 300, 301,
307, 309, 310-316, 317, 320, 321, 323,
326, 329, 330, 332, 335, 339.

Poems mentioned: Adonais, 283,
311, 314, 323; Epipsychidion, 311
Hymn to Intellectual Beauty, 311;
Prometheus Unbound, 10, 66, 96-
144, 147, 156, 239, 296, 326.

Quotations from: Adonais, 313,
314; Chorus from Hellas, 16, 161;
Hymn to Intellectual Beauty, 312;
Lyric, 129; Mont Blanc, 310; Pro-
metheus Unbound, act i., 107, 108,
117, 118, 128, 326; act ii., 123, 124,
239, 240, 309; act iii., 107, 129, 140;
act iv., 11, 50; Song, 307; The Sun-
set, 21; Ode to the West Wind, 16.
Signorelli, Luca, 175.

Sin, attitude towards, in Dante, Spen-
ser, and Shelley, 104, 105, 109, 112-
116; in the revolutionary poets,
328, 329; in the Victorian poets,
329-332.

Slavery, industrial,
Wordsworth, 79, 80.
Smith, Sydney, 241.

attacked by

Socialism, Wordsworth's relation to,
89-92; place in the development of
democracy, 92-94; under form of
altruism, 117, 118, 174; Morris the
prophet of, 197.

Social movement, the, not a subject
of English poetry, 1; result yet
unknown, 5, 7, 143; Wordsworth, a
pioneer in the, 58, 60; in Carlyle,
85-87; in Ruskin, 87-89; in Morris,
89, 278; in Wordsworth, 90-94;
appearance of new social ideal, 74;
promise of social agitation, 242,
243; absent as motif in Arnold and
Clough, 265; slight influence on In
Memoriam, 285; slight traces of, in
the poets, 297, 298, 317.
Spenser, Edmund, 13, 15, 17, 34, 46,
47, 49, 149, 158, 186, 203, 245;
Faerie Queene, 46, 50; compared
with Divine Comedy and Prome-
theus Unbound, 96-145, 149, 185,
203; Cantos on Mutability, 13, 15.

Quoted Cantos on Mutability,
13; Faerie Queene, Book I., canto

i., 46; canto xii., 22, 123; canto
ix., 126, 127; Book II., canto xii.,
17.

Strauss, 337.

Supernatural, treatment of, in older
poetry, 38; absence in modern, 39.
Swift, 202, 215, 223, 230.

Swinburne, Algernon Charles, 1, 14,
54; reversion towards the past,
148, 151, 152, 197; neo-paganism
of, 155, 157, 159, 160, 166-172, 198;
mediæval revival in, 177, 178, 180,
181; renaissance, studies of, 186,
193; place in Victorian chronology,
244; spiritual attitude, last term
of aesthetic school, 269, 270, 275,
278-280; drama of, 320; denial of
immortality, 323, 326.

Poems mentioned: Atalanta in
Calydon, 157, 166-169, 170; Chaste-
lard, 278; Erechtheus, 157; The
Garden of Proserpine, 278; Hymn
to Proserpine, 157; Laus Veneris,
186.

Passages quoted: Atalanta in
Calydon, 160, 168, 169, 326; Garden
of Proserpine, 278; Hymn to Pros-
erpine, 166.

Symbolism, its source in instinct, 33,
34; its sanction in general prin-
ciple, 35, 36; symbols of deliver-
ance in Dante, Spenser, Shelley,
119-133; of triumph, 133-138; in
the pre-Raphaelites, blended with
realism, 270, 275.

Tannhäuser, the legend of, 192.
Tasso, 17, 186.

Tennyson, Alfred, 1, 11, 22, 26, 44, 47,
53, 68, 146, 147, 151, 197, 204, 206,
234; classical influences in, 156,
160, 162; medieval influences in,
178, 179, 180, 183, 184; renaissance
influence in, 185, 194; place in Vic-
torian chronology, 244; studied
through In Memoriam, 281-292;
spiritual outlook of, 317, 318, 320,
321, 324, 328, 329, 333, 335.

Poems mentioned: Enoch Arden,
93; The Higher Pantheism, 32;
Idylls of the King, 23, 147, 178,
182, 184; The Lady of Shalott, 178;
The Lotus-Eaters, 156; In Memo-
riam, 10, 12, 16, 28, 147, 245, 281-
292, 324, 333, 334, 337; Ænone, 156,
179; The Palace of Art, 185, 194,
281; Saint Agnes' Eve, 178, 179,
180; Saint Simeon Stylites, 151,
178, 179, 182; Sir Galahad, 178,
184; Tithonus, 156, 163; The Two
Voices, 290, 291; Ulysses, 156.

Poems quoted: Sir Galahad, 184;
Morte d'Arthur, 160; The Palace of
Art, 194; In Memoriam, Prologue,
333, 334; canto xlvii., 324; canto
Ivi., 12; canto xcvi., 291; canto

cxxiii., 16; canto cxxiv., 291; canto
cxxxi., 286, 325; Epilogue, 321; The
Two Voices, 290.
Thackeray, 241.

Thomson, 17, 22, 45, 307.
Thoreau, 158.
Tolstoy, 76.

Tory politics, Wordsworth's relation
to, 58, 75, 84.
Tourneur, 217.

Trades Unions, Wordsworth's atti-
tude to, 82.

Trees, treatment of, in early and later
poetry compared, 46, 47.
Twain, Mark, 215.

Unity, conception of, absent in for-
mer literature, 28-31; appearance
in modern literature, 31-35; influ-
ence on poetry, 35-37; dangers of,
53; vindication of, 55.
Utopias, conceptions of, 136, 137.

Victorian Age, poetry of, 1, 2; at-
traction towards the past, 146-156,
196; mediæval reaction in the, 174,
176; absence of humor in, 204,
206; conditions and chronology of,
241-244; relation to Arnold and
Clough, 265; Tennyson's relation
to, 281, 282, 299; passion for action
in poetry of, 317-319; passion for
humanity, 319, 321; search for
immortality, 321-327; search for
Christ, 327-340.
Virgil, quoted, 111.

Watts, Theodore, quoted, 270.
Webster, 155, 225, 232.
Whigs, the, 73, 75.

Whitman, quoted, 7, 234.

Wonder, modern renaissance of, 270,
306, 310.

Wordsworth, William, 2, 3, 8, 12, 13,
14, 18, 22, 25, 36, 38, 44, 46, 47, 147,
152, 156, 158, 162, 175, 197, 240, 241,
249, 257, 300; relation to the new
democracy, 57-95; compared with
Browning, 203, 207, 208, 216, 219,
237; gospel of contemplation in,
303-308; spiritual outlook of, 309,
313-318, 320, 321, 325, 329, 335, 341.

Poems mentioned: Animal Tran-
quillity and Decay, 61; The Border-
ers, 61; Dion, 156; The Excursion,
71, 77, 78, 80, 91, 203; The Female
Vagrant, 61; Guilt and Sorrow, 78;
Humanity, 79; Highland Girl, 203,
208; Laodamia, 156, 162; The Leech-
Gatherer, 93, 208, 304; Lucy, poems,
22, 93, 208; Lyrical Ballads, 60-64;
Michael, 93, 208; Ode on the Inti-
mations of Immortality, 73, 322,
325; The Prelude, 64-68, 74, 322;
Peter Bell, 203, 329; Retirement,
86; Sonnets to Liberty and Order,

93; Tintern Abbey, 61, 85; The
Warning, 58; We are Seven, 63;
The White Doe of Rylstone, 93, 147,
175, 304.

Passages quoted: The Affliction
of Margaret, 39; At Bologna, 70;
Ecclesiastical Sonnets, 70; The Ex-
cursion, Book I., 76, 77, Book III.,
304; Book VII., 47; Book VIII.,
80, 83; Book IX., 81, 82; The Green
Linnet, 18; Humanity, 79; Laoda-
mia, 162; Lowther, 87; Memory,