We feel of poesy, do we become
Like God in love and power.
This interpretation of the meaning of nature, natural and human, by those who have learned to interpret it, while striving to have it convey their own meanings, lies at the basis of all the practical uses of poetry. Therefore it is that its products bring with them an atmosphere consoling and inspiring, both enlightening and expanding the conceptions and experiences of the reader. Just as each specific application of Christianity, all its warnings, consolations, and encouragements, which develop purity within and righteousness without, in the individual, in society, or in the state, spring from the one general conception of universal and divine love manifested in the form of Christ, so do all the specific applications of poetry spring from the one general conception of universal and divine truth manifested through the forms of material and human nature. When each of us can say with Wordsworth
To look on nature, not as in the hour
Of thoughtless youth, but hearing oftentimes
The still, sad music of humanity,
Then too we may be able to add with him—
A presence that disturbs me with the joy
Of elevated thoughts; a sense sublime
Of something far more deeply interfused,
Whose dwelling is the light of setting suns,
And the round ocean, and the living air,
And the blue sky, and in the mind of man :-
A motion and a spirit, that impels
All thinking things, all objects of all thought,
And rolls through all things.
-Lines Composed a few Miles above Tintern Abbey.
Abou Ben Adhem, 216.
Abruptness, eloc. and poetic, 82-88.
Accent, how marks for, read in
Greek poetry, 107; relation of, to
regularity of effect, 82-88; to
loudness and softness, 50-56;
what different kinds represent in
elocution, 32; in poetic measures
which they determine, 57-81;
source of English rhythm and
tunes of verse, 27, 104-114.
Adams, S. F., 74.
Addison, 154, 203, 259, 288.
Admiration. See Delight.
Affirmation, how represented, 92.
See Assurance, Dictation, Posi-
tiveness, etc.
Afternoon at a Parsonage, 159.
Agreement as a factor in forming
language, 11, 174.
Alcaic verse, 21.
Aldrich, T. B., 230, 333.
Alexander's feast, 101.
Alexander, J. W., 79.
Allegorical poetry, 277, 309.
Allegory, figure, 200.
Allen, Grant, 20, 189.
Alliteration, what it represents, 116.
Alloy, 212.
Alloyed representation, 212, 262-
318; direct, 264; genesis of, 262-
277; illustrative, 265; is short-
lived, 305.
All's well that ends well, 94.
Alteration of words, 157.
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Anticipation, how represented, 92,
109-114.
Antithesis, 196.
Antony and Cleopatra, 292.
Apheresis, 158.
Apocope, 158.
Apophasis, 196.
Apostrophe, 196.
Arbitrary symbols and words, 174.
Aristotle, 25, 31.
Arnold, Matthew, 48, 222, 229.
Arts, all representative, 3, 4; de-
veloped according to principle of
comparison, 27.
Aspiration, metre representing, 65,
67.
Association, its influence in deter-
mining meanings of phrases, 164,
180-185; in forming words from
sounds, 5-7; in forming new
words from old words, 174, 175;
in making words unpoetic and po-
etic, 187-193; and language plain,
195.
Assonance, what it represents, 116.
Assurance, how represented, 62-64,
71, 112-114.
Audley Court, 269.
Aurora Leigh, 237.
Autumn, 299.
Barbara Frietchie, 84, 133.
Barton, 67.
Battle of Ivry, 49, 77.
Bayley, 119.
Beecher, H. W., 299, 300.
Bells, The, 143, 169.
Bells of Shandon, 85, 112.
Beppo, 85.
Bernard, 79.
Bertha in the Lane, 167.
Bigelow Papers, 79, 160.
Bird Let Loose, The, 234.
Birthday Ode, IOI.
Bishop of Rum-ti-Foo, 94.
Black, W., 191.
Black Regiment, 110.
Boadicea, 9.
Botanic Garden, 276.
Break, break, break, 221.
Breathing, and length of line, 25.
Breton, N., 106.
Bridge of Sighs, 72, 114.
Broadswords of Scotland, 75.
Bristowe tragedy, 157.
Brooke, 259.
Brown, M. T., 15, 17.
Browning, Mrs. E. B., 40, 111, 159,
167, 237.
Browning, R., 9, 46, 53, 73, 110,
114, 131, 132, 139, 148, 163, 164,
165, 170, 201, 304, 309-311.
Bryant, W. C., see Iliad, 230, 334,
335, 336, 343.
Burns, 144, 158, 159, 224.
Byron, 80, 85, 91, 130, 139, 147,
Comparison, principle of, at the
basis of all art, 27; in forming
words, 8, 174, 175, 187; in de-
termining meaning of phrases,
180-185; words formed from,
not necessarily poetic, 186, 208;
but are figurative, 195; how com-
parisons are used appropriately in
poetry, 190, 206, 225-239, 260,
265-270, 281-284, 287-295, 299-
307; how inappropriately, 190,
200-203, 271, 272, 296–318.
Completeness in form, 322-327.
Comus, 306, 313.
Conclusive effects.
Positiveness, etc.
Crabbe, 286, 287, 294.
Cranch, 227.
Cupid and Psyche, 219.
Cymbeline, 54, 166.
Dactyl, 60, 72.
Dance and poetry, 22, 95.
Dante, 155, 194.
Darkness, 147.
Darwin, C., 144.
Darwin, E., 156, 276.
Davis, T., 113.
Day Dream, The, 132, 341.
Definiteness in form, 322-327.
Delaumosne, 17.
Delight, how represented, 72, 82,
86, 127, 128, 132-149.
Delsarte, 17.
Decisiveness, how represented, 62-
67, 92, 113.
Deserted Village, 27.
Deserted House, 332.
Descriptive poetry, 203-207, 209-
277, 284-307; referring to nat.
scenery, 284-289, 293-299 — to
persons, 288, 291.
Despondency, 229.
Determination, metre representing,
65-67, 71, 72, 109-113, 128, 133-
149.
Dictation, metre representing, 62-
64, 70-72, 113.
Didactic poetry, 278–292.
Dies Iræ, 64.
Diiambic metre, 61, 77.
Diinitial metre, 61, 77.
Dimond, 69.
Dionysius, 64.
Discoursive elocution, 33.
Diterminal measure, 61, 77.
Ditrochaic measure, 61, 77.
Divided, 159.
Dobell, 84.
Donders, 98.
Dora, 264.
Douglas, 288.
Drake, 141.
Drama of Exile, 167.
Dream of Eugene Aram, 131.
Dryden, 101, 155, 156, 157, 259.
Duration, elocutionary, and what it
Elegant extracts, 216, 239.
Elegy, Gray's, 42, 137.
Ellen McJones Aberdeen, 52.
Ellipsis, 161.
Elocution, influence in language,
18-in poetry, 21; its elements
classified, 32-36; discoursive 33;
dramatic, 33.
Eloquence of thought, metre repre-
senting, 68, 74, 86; quality, 127.
Emerson, 83, 236, 302.
Emotive tendency in forming lan-
guage, 13; in character, 14; in
elocution, 35; in duration, 44;
in force, 50, 58, 82-87; in pitch,
90-95, 115; in quality, 126-149,
203-207, 265-267.
Emphasis, as influenced by rhymes,
120. See Accent, Force, Stress.
Enallage, 165.
End-cut words, 158.
End-stopped lines, 41.
English, Metrical possibilities of, 30.
Enthusiasm, how represented, 72,
Enoch Arden, 272.
Epigram, Pope, 239.
Epilogue, Browning, 132; Swin-
burne, 87, 146.
Epistle, An, 310; to Arbuthnot,
Epistles of Horace, 341.
Essay on Criticism, 44, 55, 341; on
Man, 120, 340, 341; on Satire,
156.
Evangeline, 76, 114, 271, 272.
Evelyn Hope, 73.
Evening on the Broads, 311, 317.
Everett, E., 299
Eve of St. Agnes, 152, 153, 163,
167.
Eve of St. John, 122.
Excelsior, 338.
Excursion, 26, 270, 281, 337.
Exile of Erin, 110.
Explanatory alloy, 279-307.
Faerie Queen, 40, 138, 142, 143.
Fairies' song, 78.
Falconer, 298.
Fanny, To, 331.
Farewell, A., 324.
Farrer, 6.
Feeling, how represented, 12-18,
35; how different kinds repre-
resented, 127-149. See Emotive.
Feet, Eng. and classic, how pro-
duced, 28; classification of Eng-
lish, 60. See Measures.
Felise, 144.
Ferdinando and Elvira, 41, 52, 114.
Festus, 2, 346.
Figurative language, 195-207, 228;
when to be used, 206, 265; when
poetic and representative, and
when not so, 208-212, 293-318.
See Indirect and Illustrative Rep-
resentation.
Figures of rhetoric, not always rep-
resentative, 195-197, 265; when
representative, 197–200.
First Kiss, 105.
Fishermen, The, 327.
Fisher's Cottage, 221.
Flower in Crannied Wall, 344.
Force, elocutionary, 33, 50; what
it represents, 34, 35; its kinds,
50; degrees of, in elocution and
poetry, 51-56; gradations of, 57-
81; regularity of, 82-88; signifi-
cance of metres determined by
it, 57-81.
Form in words and sentences, 320;
in poems, 322-341; when mod-
elled on direct representation, 323;
on illustrative representation, 327.
Fra Lippo Lippi, 311.
French language, 24, 191, 192.
Fright, how represented, 127-149.
Front-cut in words, 158.
Frothingham, 48.
Gardener's Daughter, 43, 287, 291.
Garden of Cymodoce, 116.
Gathering Song, 71.
Gentle Alice Brown, 99.
Gerhardt, 79.
Gilbert, 30, 41, 52, 78, 94, 114, 160,
Glimpses of the War, 311.
Glorious things of thee are spoken,
65.
Goethe, 48, 124, 194, 248, 302,
Golden Legend, 63.
Golden Year, 283.
Goldsmith, 27, 101, 121, 184.
Good Old Plow, 76.
Goose, Mother, 29.
Gougaune Barra, 69.
Go where glory waits thee, 62.
Greek, development of its poetic
forms, 22; direct representation
in tragedies, 267; how accents
pronounced in reading verse, 107;
metres, 29, 30, 60-81. See Clas-
sic and Homer.
Grief, metre representing, 73. See
Pathos.
Growth of the legend, 307.
Guest, 45, 137.
Guttural, meaning of, elocutionary
and poetic, 127-149.
Gradation, 116. See Force and
Stress.
Gray, 42, 137, 144.
Grant, 86.
Halcro's verses, 85.
Hamilton, Sir W., 279.
Hamlet, 207, 219, 290, 313.
Hammond, 117.
Harrington, 216.
Hawtrey, 49.
Heine, 220.
Hegel, 17.
Helmholtz, 98.
Henry VIII., 27, 41; 1 Henry IV.,
83, 143, 207, 291; 2 Henry IV.,
138; Henry V., 166, 167; 2
Henry VI., 142, 236; 3 Henry
VI., 234.
Heretic's Tragedy, 131.
Herder, 7.
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