Human Element, The, 269; of the Liturgy, 292 et seq.
Humor, as a pathetic factor, 215; and see 123, 275.
Hunt, Leigh, on poetry, 25; cited, 239; quoted, 243; and see 119, 173, 179, 225.
Hutchinson, Ellen M., quoted, 182.
"Hymn, before Sunrise," Coleridge, 266.
"Hymn to Aphrodite," Sappho, 88.
Hyperion, Keats, its large utterance, 248; quoted, ib.
Ibsen, 42.
"Ichabod," Whittier, 268.
Idealist, The, how affected by the new learning, 34-37.
Ideality, its bearing on individual action, 3-5; present struggle with empiricism, 34-39; the "shews of things" are real to the poet, 153; characterizes true Realism, 199; opposed alike to prosaic goodness and to vice, 216; against impurity, 262; present want of, 274.
Ideals, racial and national, 159, 162-165; the Aryan, 159; Academic, 161; the Japanese, etc., 162-165.
Ideal, the artist's, what constitutes it, 41.
Idyllic Poetry, Keats, Tennyson, etc., 68, 69; of the Bible, 87; Ruth and Esther contrasted with Anna Karénina, 175; Tennyson's method, 193; recent idyllic period, 210, 211; Snow Bound, 268; over supply of, 275.
Idyllic quality, 225.
"I have loved flowers that fade," Bridges, 185.
Iliad, The. See Homer.
"Il Penseroso," Milton, 116.
Imagery, when outworn, 34; of poets, Joubert on, 235.
Imagination, sovereign of the arts, 5; its office fully recognized by Wordsworth and Coleridge, 20, 21; Schopenhauer on, 21; indispensable to the savant, 32; the savant's akin to the poet's, 36; increased material for, 38; the dramatic, 104; nothing forbidden to it, 201; glorifies Shakespeare's errors of fact, ib.; of the intellect, 211; freed by a free rhythm, 214; considered as the informing element of poetic expression, 225-258; lack of, in recent poetry, 227; chief factor in human action, 228; the executive, 229; the poetic, ib.; Shakespeare's, 229-231; definition of, 231,—illustrations of same, 232-235; how to test it, 232; must be clear, ib.; must have "holding power," 233; of Blake, ib.; definiteness of, 234; not confined to the superhuman, 236; its higher flights, 236, 237; when inventive and constructive, 237; when purely creative, 237, 238; its Wonderland, 238; its power of suggestiveness and prevision, 239; im-
