age of flint. If so, I am thankful to him for his longevity, or his transmitted nature, whichever it may be. But I have my own suspicion sometimes that the true age of flint is before, and not behind us, an age hardening itself more and more to those subtle influences which ransom our lives from the captivity of the actual, from that dungeon whose warder is the Giant Despair. Yet I am consoled by thinking that the siege of Troy will be remembered when those of Vicksburg and Paris are forgotten. One of the old dramatists, Thomas Heywood, has, without meaning it, set down for us the uses of the poets:
"They cover us with counsel to defend us
From storms without; they polish us within
With learning, knowledge, arts, and disciplines;
All that is nought and vicious they sweep from us
Like dust and cobwebs; our rooms concealed
Hang with the costliest hangings 'bout the walls,
Emblems and beauteous symbols pictured round."
Adams, John, of the Bounty, 177.
Addison, on Dryden, 5; and Steele,
together made man of genius, 12.
Aladdin's Cave, in the old Harvard
College library, 43.
Alford, Lady Marian, 80 n.
Allston, Washington, his dreary fate,
198.
American coinage, 217.
Biography, too often supererogatory,
57.
Blount, Charles, plagiarized Milton's
Areopagitica, 102; Macaulay's ac-
count of the affair, 103.
Bonstetten, his judgment of Gray, 16,
21.
Bounty, the mutineers of the, 177.
Brome, Alexander, 77, 80, 284.
American language, foolish talk about Browne, Sir Thomas, quoted, 7, 153.
an, 216.
Ancestor, adopting an, 56.
Browning, his translation of the Aga-
memnon, 145.
Appleton, Samuel, anecdote of, 308, Burbage, Richard, the actor, 189.
309.
Areopagitica. See Milton.
Arnold, Matthew, on the grand style,
145-147; his admiration of Homer,
151.
Art of being idle, 10.
Aucassin and Nicolete cited, 137.
Autobiographies, unconscious betray-
als in, 263.
Bancroft, George, 132 n.
Barabas, in Marlowe's Jew of Malta,
225, 230-232.
Beaumont, verses to Ben Jonson
quoted, 199.
BEAUMONT ANd Fletcher, 284-296; in-
separably linked, 284; contribution
of each, 284; individual character-
istics, 285, 286; Fletcher's Bonduca
quoted, 285; their region that of
fancy, 287; their comedies amusing,
287, 288; their poetical quality con-
stant and unfailing, 290; their first
joint play, 290; their notions of
women, 292; authorship of The Two
Noble Kinsmen, 293; looked upon
as gentlemen and scholars, 294;
compared with Shakespeare, 295.
Mayne, Cartwright, and Brome on,
284; Cartwright on Fletcher's wit,
287, 288; Coleridge on, 292.
The Elder Brother, 288; Philaster
analyzed, 291.
Bell, Peter, 111.
Biglow, Mr. Hosea, 197.
Biographer, the
Burke, compared with Dryden, 4; in-
fluence of Milton's prose on, 104.
Burleigh, Lord, on polyglottism, 139.
Burton, Robert, 190.
Calderon, 191, 192, 209.
Canorousness, the, of Homer's verses,
151.
Capital, importance of having a na-
tional, 13, 14.
Celestina, the tragicomedy of, 192, 193.
Chalkhill, John, 83, 84.
Change, the condition of our being, 161.
Chanson de Roland, 146, 147, 196.
CHAPMAN, 262-283; his birth and
death, 266; his education, 267; fa-
miliar with several languages, 267;
imprisoned by King James, 267;
joint author with Jonson and Mar-
ston, 267; some condemned passages,
267; a man of grave character, 268;
his strong friendships, 268, 269; the
number of his plays, 269; his char-
acters are types, 269; his finest
tragedies, 271, 273; his choice of
heroes, 274; never knew when to
stop, 275; the most sententious of
poets, 275; his annotations to the
Iliad, 275, 276; incomparable am-
plitude in his style, 276; his Eng-
lish of the best, 277; his fondness
for homespun words, 277; his rela-
tions with his brother poets, 279;
his use of compound words, 279; his
mannerism, 280; as a translator,
280-283; his theory of translation,
281; a poet for intermittent read-
ing, 283 compared with Shake-
speare, 119; his appreciation of his
mother-tongue, 201; his invoca-
tion of Marlowe, 222, 223. See also
General Index in Vol. VI.
Dryden on, 274, 275; Frofessor Minto
on, 278.
Byron's Tragedy, eulogy of Philip II.
in, 268; All Fools, his best comedy,
269, 270; The Gentleman Usher,
271; Revenge of Bussy d'Ambois,
271, 277, 278; Tragedy of Chabot,
272, 273.
Charles V., cited, 139.
Cinthio, Giraldi, 231.
Classics, Greek and Latin, 133; the
true use of, 135.
Coleridge, little influenced by Milton,
104; his sense of harmony and mel-
ody, 112; on Shakespeare's style,
114.
Commerce, the influence of, 175, 176.
Commonplace, the, within reach of us
all, 42.
Common sense, in literary criticism,
112, 113.
Consciousness, national, 197.
Copyright, Milton on, 97.
Cotton, Charles, 78; a man of genius,
80; his treatise on fly-fishing, 81.
Cowper, his poetry admirable in its
own middle-aged way, 2; poet of
Nature in domestic moods, 12; on
Gray, 25, 38. See also General In-
der in Vol. VI.
Crashawe, Richard, 72.
Crime, as a subject for tragedy, 245.
Critic, the first essential of a, 217.
Criticism, subjective, as untrustwor-
thy as it is fascinating, 111; com-
mon sense in, 112, 113.
Crotchet, the nucleus of a sect, 94.
Crusaders, unwitting service of the,
176.
Culture, many-sidedness the essence
of, 156.
Daniel, Samuel, a master of style, 143,
144; his Defence of Rhyme quoted,
144; also, 206.
Dante, his style, 137.
Dark Lady, the, of Shakespeare's son-
nets, 265.
Decameron, price of the, 163.
Dekker, Thomas, 205-208; his Old
Fortunatus quoted, 205, 207.
Democracy, its ideal, 178.
Dodsley's Old Plays, 202.
Donne, A Valediction forbidding
Mourning quoted, 65; and Walton,
64, 65; Walton's elegy on, 64, 68, 69.
Drama, origin of the modern, 188; the
English, 189; the French, 191; the
Spanish, 192-194; the Italian, 194.
Dramatists, unskilful plots of the sec-
ondary English, 241-243.
Drayton, on Sir Philip Sidney, 214;
on Marlowe, 222.
Dryden, wonderfully impressive at his
best, 3; his æsthetical training es-
sentially French, 4; his style gen-
tlemanlike, 4; much of his work
was job-work, 5; a successful con-
jurer with vowels, 5; perfected the
English rhymed heroic verse, 6;
a well of English undefiled, 42; in-
spired by Shakespeare, 121. See
also General Inder in Vol. VI.
compared with Milton, 3; with
Burke, 4.
Religio Laici, 6; Horace, Ode iii. 29,
quoted, 10, 11; Annus Mirabilis,
18: All for Love his finest play,
121.
Du Bellay quoted, 135.
Dyce, Rev. Alexander, 203.
Dynamite, in the New Testament, 181.
Editor, the, of a modern newspaper,
179, 180.
Education, modern books as imple-
ments of, 153.
Elegy, generally dreary to write or
read, 68; a wholly adequate one, 68.
Emerson, set much store by Landor's
works, 43.
Error, apt to be but a transitory
lodger, 180.
Faust, one admirably dramatic scene
in, 209.
Fay, Dr. E. A., 156.
Field, Nathaniel, letter by, 298.
Fischer, Peter, statuettes of the twelve
apostles, 146.
Fitzgerald, Edward, 141; his master-
ly translations, 282.
Fletcher, compared with Shakespeare,
119; Faithful Shepherdess quoted,
120 n. See also Beaumont and
Fletcher.
Flint, the age of, possibly before us,
316.
Floud, Rachel, first wife of Izaak
Walton, 66.
Ford, John, his plays chiefly remark-
able for sentimentality, 312; a mas
ter of the trick of falsification, 313;
his diction hackneyed, 313, 314;
compared with Shakespeare, 314.
Form, in literature, 142, 144; dra-
matic, 239, 240.
French and Italian models, influence
of, on early English writers, 138, 139.
Gallatin, Albert, instructor in French
at Harvard College, 132 n.
Gammer Gurton's Needle, 190.
Geology, the gigantic runes of, 166.
German tongue, singular effect of
learning, 136, 137.
Goethe, on Shakespeare, 125; Faust
and Iphigenie contrasted, 142; on
the study of the ancients, 149; lack-
ing in dramatic power, 209.
Goldsmith, on Gray, 32, 33; his ad-
mirable style, 145.
Good, the, in men, is immortal, 264.
Good taste, an acquisition as well as a
gift, 206; a powerful factor of civ-
ilization, 217.
Government, the true function of, 181.
Grant, James, his Newspaper Press
cited, 109.
GRAY, 1-42; a rare combination of
genius and dilettanteism, 13; an ar-
tist in words and phrases, 14, 31;
birth and education, 14; his quarrel
with Horace Walpole, 14, 15; a con-
scientious traveller, 15; a tint of ef-
feminacy in his nature, 15; his im-
agination passive, 16, 17; at Cam-
bridge, 19; letters quoted, 18, 20,
24-30, 33; his flowering period, 20;
his natural indolence, 23; his inel-
ancholy, 23, 24; his minute care in
matters of expression, 30; the charm
of his Elegy, 31, 32; influenced by
Pindar, 33; underrated by Johnson
and Wordsworth, 34-38; helped him-
self from everybody, 38, 39; but the
result is always his own, 39; stanza
omitted from the Elegy, 40; wrote
less and pleased more than any other
English poet, 42; a teacher of the
art of writing, 42; his use of vowel
sounds, 241. See also General Index
in Vol. VI.
Boustetten on, 16; Dr. Johnson on,
19, 20, 34, 35; Sainte-Beuve on, 22;
Cowper on, 25, 38; Wordsworth
35-38;
Sir James Mackintosh on,
on,
37.
Sonnet on the death of West quoted,
35.
Greene, Robert, 203.
Grimm, Jacob, his opinion of the Eng-
lish language, 216.
Hall, Bishop, quoted, 138.
Hamlet, a fat, inconceivable, 189.
Hawkins, Rev. William, son-in-law of
Walton, 82.
Hawthorne, the Scarlet Letter cited,
209, 210.
Heath, John Francis, 45 n.
Hebrew, believed to have been spoken
by God himself, 131.
Herbert, Sir Henry, on two of Massin-
ger's plays, 299, 300.
Heywood, Thomas, on the uses of the
poets, 316.
Historian, what constitutes the tri-
umph of an, 59.
Homer, the canorousness of his verses,
151.
Hooker, Richard, 72.
Horace and Malherbe compared, 41.
Hugo, Victor, compared with John
Webster, 260.
Humor, in Shakespeare and Cervantes,
123; distinguished from mere fun,
288.
Iliad, power of the, 143.
Imagination, relation between it and
Form, 240.
Indifference of men of the eighteenth
century, 8-11.
Indolence, a master of casuistry, 20.
Interludes, the, training-schools for
actors, 189; not easy to read, 190.
Ireland, his clumsy forgery of Vorti-
gern, 118.
Italian and French sources drawn from
by early English writers, 138, 139.
Johnson, Dr., on the rupture between
Gray and Walpole, 14; criticisms of
Gray, 19, 34; his treatment of Lyci-
das, 113.
Jonson, Ben, his theory of dramatic
construction, 241, 242.
Jourdain, M., 188.
Kaiser, Rothbart, 50.
Keats, 116.
Ken, Anne, second wife of Izaak Wal-
ton, 66.
Landor, Robert, his Fountain of Are-
thusa, 53, 54.
LANDOR, WALTER SAVAGE, SOME LET-
TERS OF, 43-56.
Landor, his works highly esteemed by
Emerson, 43; his stately eloquence,
44; theatrical and uppish, 45, 46;
his fondness for writing Latin verse,
his characters are images rather
than persons, 47; sued for libel, 47;
his remoteness from the real world,
47, 48; nothing in him at second
hand, 48; his English pure, harmo-
nious, and sonorous, 48; some of his
shorter poems perfect, 49; his poli-
tics, 49; his books good for reading
aloud, 50: his biography by Forster,
50, 52; collected edition of his works,
50; Lowell's only meeting with, 50;
his personal appearance, 51; Car-
lyle's opinion of, 51, 52; his Fieso-
lan villa, 52; story of his throwing
his cook out of a window, 52; his
extravagant opinion of Prince Louis
Napoleon, 53; his Merino sheep
"stolen" by George III., 53; mem-
ory and imagination mixed in him,
53; his enthusiasm over his bro-
ther's Fountain of Arethusa, 54; his
judgment of Wordsworth, 54; his
adoption of ancestors, 55. See also
General Index in Vol. VI.
Imaginary Conversations, 45, 47.
Language, benefits of knowing a for-
eign, 139, 140; helpfulness of trans-
lating, 140, 141.
Lassels, Richard, cited, 139.
Latin, long equivalent to "language,”
133; an infallible pickle for thoughts,
134.
Lecturing, the law of, 185.
Legislation, dangerous consequences
of ill-considered, 96.
Lessing, as a critic, 113.
Lincoln, Abraham, the English of,
216.
Literature, speaks in the universal
tongue, 158; becomes more melan-
choly as it becomes more modern,
163; no advance in, since the Greeks,
175; early, in France, 191; versus
newspapers, 309, 310.
Love of Amos and Laura, The, 63.
Lowell Institute, lectures at the, 186.
Macaulay, on Charles Blount, 103.
Mackintosh, Sir James, on Words-
worth, 37.
Major, John, on Izaak Walton's busi-
ness, 67.
Malherbe and Horace compared, 41.
Man, converted into a Perfect Being,
8, 9; his development, 168; his ap-
prenticeship, 169; his inventiveness,
170-172; his faculty of organization,
173; his necessity of conceiving an
ideal, 174; his highest distinction
and safeguard, 182, 183.
Many-sidedness, the essence of cul-
ture, 156.
MARLOWE, 212-238; his birth and edu-
cation, 218; his death, 219; a lib-
eral thinker, 219; a lavish and
grandiose writer. 220; no characters
in his plays, 230; his influence on
Shakespeare, 226; on Keats and Mil-
ton, 237; unerring in his poetic in-
stinct, 238. See also General Inder
in Vol. VI.
Drayton on, 222, 223; Chapman on,
222,
223.
Come live with me, 70, 74; Dr. Fau-
stus, 115, 233-236; Tamburlaine,
220-222; Dido, Queen of Carthage,
224; The Jew of Malta, 225, 230;
Edward II., 226-228; Hero and
Leander, 237.
Massinger, Philip, his birth and boy-
hood, 297; his education, 298; his
connection with the stage, 299; Sir
Henry Herbert's condemnation of
two plays, now lost, 299, 300; free
expression of his opinions, 301; his
probable politics, 300, 302; not un-
like Mr. Ruskin on some points,
302; a man of large sympathies,
302; the Roman Actor quoted, 303-
305; his burial, 305; number of his
plays, 305; their excellent qualities,
306, 307; occasional foulness of his
lower characters, 307; Lamb's esti-
mate of, 307; his improbabilities
never impossible, 310; inferior as a
poet, excellent as a dramatist, 311.
MASSINGER AND FORD, 297-316.
Masson, David, his fruitful researches
in regard to Milton, 98; also, 115.
Mermaid Tavern, the, 199.
Milton, in many respects an ancient,
3; on copyright, 97; his tract on
Divorce, 98, 99; denounced by the
Stationers, 98; censor of the press,
100, 101; not a democrat in the
modern sense, 101; his unconscious
mental reservation, 102; Coleridge
on, 104; his influence on Burke,
104; his prose works never popular,
104-106; his prose often difficult
and coarse, 105; his blank verse
unrivalled, 106; a mint-master of
language, 106; the most eloquent
of Englishmen, 108; incorrectly
taxed with Latinism, 108; his un-
usual English words, 108; as an ad-
versary, 109; incomparable efficacy
of parts of his prose writings, 109.
See also General Index in Vol. VI.
Iconoclastes, 97; Second Defence,
99, 100; History of Britain, 101;
Reason of Church - Government,
105.
MILTON'S AREOPAGITICA, 94-110; ori-
gin of, 98; a plea in his own behalf,
99; part of a larger scheme, 99;
embodies the principle of universal
toleration, 100; produced little im-
mediate effect, 102; reprinted with
preface by Thomson, 103; its spirit,
110.
Miracle Plays, English, 189; French,
191.
Mirror for Magistrates, the, 214.
Misjudgment, the right of private, 96.
MODERN LANGUAGES, THE STUDY OF,
131-159.
Modern languages, invented at Shi-
nar, 131; add largely to our re-
sources, 148; importance of study-
ing, 154; improvement in methods
of teaching, 155, 156; the literature
of, 158.
Modern Spirit, the, a borrower from
the Pied Piper of Hamelin, 164.
Montagu, Lady Mary Wortley, 98.
Nares, Archdeacon, 86.
Natural right, the right of superior
force is the only, 179.
Newfoundlanders say fish when they
mean cod, 133.
Newspaper editor, the, 179, 180.
Newspaper, suppressed by the Gen-
eral Court of Massachusetts, 95.
Newspapers, a needed sanctuary from,
309, 310.
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