A Text-book for the Study of Poetry

INDEX

References are to pages.

Accent, as governing metre, 152-| Caricature, the essence of satire,

suited to poetry, 140.
Anapestic lines, 155, 158.
Apostrophe in poetic diction, 198.
ARISTOPHANES, The Birds, 127;
The Clouds, 128;
The Frogs, 127;

ARISTOTLE, The Poetics, 22, 105.
Aristotle's definition of poetry, 9-
10.

Artificial, The, style, 75.
Association, Imaginative, 68.

BALE, BISHOP JOHN, The Trouble-
some Reign of John, King of
England, 49.

Ballad, The, 136-137.

147.

Catalexis, 156-157.

Character, Description of, 45–46;
Contrast of, in the drama, 108;
Dramatic representation of, 46-.
49;

Portrayal of, in the drama, 107-

108;

Portrayal of, in Greek tragedy,

117;

Studies of, in relation to poetry,

150.

Character, The primary, in trag-
edy, 106-107.

CHAUCER, The Canterbury Tales, 40,
79.

Choral odes in Greek tragedy, 118.
Classicism vs. Romanticism, 89-91.
Climax in poetical composition, 78.
CLOUGH, A. H., Qua Cursum Ventus,
198.

Coherence in Dramatic action, 111.
COLERIDGE, S. T., Biographia Lit-
teraria, 14;

Frost at Midnight, 34;

The Ancient Mariner, 32, 55.
COLLINS, WM., Ode to Evening, 141.

Beautiful, Description of the, 2-4. Comedy, Romantic, 124;

Beowulf, 99.

Blank verse, 169–170.

The New (Roman), 128-130;
The Old, of the Greeks, 126–128.

BROWNING, ROBERT, Prospice, 192; Comic and tragic treatment, 125.

Ghent to Aix, 158;

Paracelsus, 197.

BURNS, Sensibility, 139.
BYRON, Childe Harold, 140.

Cadence, The metrical, 169.
Casural pause, The, 163.

Comparison, The power of, 81.
Complication, The, in epic narra-
tive, 96-97;

in dramatic action, 113.
Composition, The, of verse, 192-

193, 194, 196, 201-204.
Compound words, 199.

L

References are to pages.

Concentration in lyric poetry, 139-| Elegy, The, 135.

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Emotion, Description of a noble,

5, 6, 18-24;

How to estimate, in poetry, 25-
26;

motived by thought, 52;

proportioned to thought, 56-58.
Emotional, The, aspect of thought,
56;

intensity in narrating, 199;

intensity in the expression of
thought, 200;

intensity of diction, 197-200.
Emphasis in metrical effects, 164-
165, 173.

Epeisodia in Greek tragedy, 118.
Epic, The, of Art, 100;

compared with the drama and
lyric, 93, 103, 109;
distinguished from other narra-
tive forms, 101-102;
unity of motive in, 96.

Epic and tragic unity compared,

109;

action, Freedom of treatment in,
96;

and tragic action compared, 95,
109.

Epirrhema, The, in Greek comedy,

128.

Episodes, defined, 96;

in epic poetry, 96.
Epithets, 191.

EURIPIDES, Hecuba, 22, 63, 113,
116.

Exclamation, 197.

Exodos, The, in Greek tragedy, 118.
Expression, how related to thought,
74-76.

Extravagance in poetic emotion, 57.
Extravaganza, The, in Greek com-
edy, 127.

Fanciful, Restricted use of the
term, 35.

Fancy and imagination, 31-37.
Fear and pity in tragedy, 22, 104-

106.

References are to pages.

Fiction, The truth of, 62-66.
Fluidity in lyric poetry, 141, 143.

GOLDSMITH, Deserted Village, 46.
GRAY, Elegy, 66, 161;

On a Favourite Cat, 24.

Imaginative elements in the poem,
50;

intensity of diction, 190-197.
Immoral, The, in art, 7, 19, 20.
Impressionist poetry, 55.
Impressiveness. See Intensity.

Greek comedy, The parabasis in, In Memoriam stanza, The, 168.

128;

Character treatment in, 118-119;
tragedy, The religious character
of, 119;

Treatment of the action in, 125.

Heroic metre, 155.

HOMER, Iliad, 39, 46.

HORACE, Ars Poetica, 149.
Hovering, The, accent, 154.

Humor, Sources of, in comedy, 124.
Hypermeter, 156.

Iambic lines, 155, 159.

Iambic, The, movement, 159.
Idealization, 39, 66–71;

Imaginative association in, 68;
Methods of, 68;

The heightening process in, 68;
The limits of, 71;

The selective process in, 67.
Idealism, as a poetic tendency, 89.
Imagery, Vividness of, 38;

Emotion suggested by, 25;
Emotional power of, 38, 39;
Truth of, 38;

Unified impression in use of, 40.
Imagination, Definition of, 29;
acting in concert with other
faculties, 31;

and fancy, 31-37;

How related to poetry, 30;
The active and passive, 30;
The imaging power and creative
power of, 32-37;

The productive and reproductive,
29;

The unifying power of, 36;

in description, 38-41;

in narration, 38-41, 190-197;
Intuitive power of, 50.

Insincerity, Poetic, how mani-

fested, 57, 137–138.

Intensity in poetic diction, 190-
200;

in expressing thought, 200;
in narrating, 199.

Interpretation, The, of Nature,
42-45;

Modes of nature, 43, 44.

Introduction, The, in the drama,
112;

in the epic, 96.

Intuitive power of imagination, 50.
Invective not satire, 146.
Inversion in poetic diction, 198;
as a metrical variation, 156.

Katharsis, The, of the passions in
tragedy, 22, 104-106.

KEATS, Eve of St. Agnes, 23;
Endymion, 41;
Hyperion, 44;

La Belle Dame sans Merci, 55;
Nightingale, 50.

King Lear, Analysis of, 122.

LESSING, The Laokoön, 83.
Long syllables, Effect of, 159.
LONGFELLOW, Hiawatha, 160.
Lyric, The, attitude in epic poetry,
95.

Lyric poetry differentiated from
other forms, 93, 132-133.
LYTTON, BULWER, Richelieu, 49.

MARLOWE, The Jew of Malta, 21.
Melody of verse, as an aid to ideal-
ization, 68.

Metaphor, Intensity in the use of,
194-197;

Farfetched, 194, 196.

References are to pages.

Metre and poetry, 11, 12.
Metrical effect of various lines and
syllables, 158-162;

analysis of Paradise Lost, Bk. IV,
11. 598 ff., 181;

Painting and poetry, 8, 74, 80,
81.

Parabasis, The, in Greek comedy,
128.

Paragraph, The verse, 170.

analysis of Keats's Ode to the Parodos, The, in Greek tragedy,

Paradise Lost, 81, 189, 192, 195, Peripeteia, The, in dramatic action,

200;

Samson Agonistes, 110.

115.

Photography, not a fine art, 67.

Monometer, dimeter, etc., The, 154. | Phrasing, Metrical, 169.

Naturalness, an element of poetic Prologos, The, in Greek tragedy,

NASH, Spring Song, 43.

Noble emotion, Description of, 5, 6. Proportion in poetical composition,

Ode, The, 135.

Edipus Tyrannus, Analysis of, 120.
Order of treatment in the epic, 96.
Originality, 58–59.

Otiose epithets, 191.

Outline or plan, The making of the,
79.

78.

Prose and poetry, 16, 17.

Prose-poetry, 18.

Pseudo-classicism, 90.

Purgation, The, of the passions in
tragedy, 22, 104-106.

Quatrain, The, 166, 168.

References are to pages.

Realism as a poetic tendency, 69-| Solution, The, in the epic poem, 96-

113.

Sonnet, The, 166-167, 168-169.
SOPHOCLES, Antigone, 107;

Edipus Tyrannus, 108, 115, 118;
Edipus Tyrannus, Analysis of,
120-121.

SPENSER, EDMUND, Faerie Queene,
166.

Rise, The, of the dramatic action, Spenserian, The, stanza, 166, 168.
Stasima, The, in Greek tragedy, 118.
Stress, or accent, in verse, 153.
Structural features of composition,
77-80.

Romance, Truth in, 64-66.

Romantic, drama, 108-109;

comedy, 124.

Romanticism and Classicism, 89- Structure of the lyric, 141-143.

91.

ROSSETTI, D. G., Lost Days, 167.

RUSKIN, Modern Painters, 42.

Satire in Greek comedy, 127.

SCOTT, Marmion, 160.

Sentimentalism, 57.

Julius Cæsar, 53, 110;

Style. See Chapter on Expression.
Substitution, as a metrical varia-

tion, 156.

Suggestive description, 83-84, 193.
Suggestiveness of words in the con-

text, 188-190..

SWIFT, In Sickness, 139.

SHAKESPEARE, Hamlet, 53, 86, 197; SWINBURNE, Atalanta in Calydon,

King John, 21, 49, 63;

Lear, 21, 108, 114;

Lear, Analysis of, 122-124;
Macbeth, 25, 26, 80, 115, 196;
Measure for Measure, 86;
Merchant of Venice, 44, 200;
Merry Wives of Windsor, 125;
Midsummer Night's Dream, 38;
Richard II, 33, 195;

Romeo and Juliet, 32, 85;
Sonnet, 41, 81;

Tempest, 84;

Winter's Tale, 39.

SHELLEY, Defense of Poetry, 14;
Dirge, 68;

The Invitation, 142;

West Wind, 35, 57.

SIDNEY, Sonnet, 42.
Simile, The, 81, 194-197.

Simplicity in ancient tragedy, 116–

117.

Sincerity, Poetic, 57, 137-138;
in lyric poetry, 137-138.

26;

Choriambics, 38;

Loch Torridon, 177.

Symbolists, The school of, 55.

Tendencies, Four poetic, 88-91.
TENNYSON, The Captain, 17;
Fatima, 55;

Idylls of the King, 37,
Morte d'Arthur, 38;

The Last Tournament, 195;
The Lady of Shalott, 58;
Ulysses, 163.

THOMPSON, FRANCIS, A Corymbus
for Autumn, 190, 192;

The Hound of Heaven, 189.
THOMSON, JAMES, Winter, 34, 46.
Thought, as manifested in poetry,

53, 54;

as related to expression, 74-76;
as suggesting emotion, 26;
as the motive of emotion, 52;
as proportioned to the emotion,
56-58;

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