and action, 3; why sometimes esteemed too lightly, 5, 14; to be observed scientifically, 6,—and in the concrete, 8; why its definition is needed, 8; it is vocal, 9; as a sensation, 15; historic views and definitions of, 17-28; the antique view, Aristotle, Horace, 17; Chapman, Dryden, Landor, Goethe, 18,—Arnold, 19,—traversed by Heine, 18; the Romantic, or Emotional view, 19, 20,—Byron, Moore, Mills, 19,—Bascom, Ruskin, 20; not opposed to Prose, ib.; stress laid upon Imagination by Wordsworth and Coleridge, 20,—by Schopenhauer, 21; the Platonic view,—Plato in "The Republic," etc, 21 et seq.; Zoroaster cited, 22,—Cicero, 22,—Bacon, Sidney, Plotinus, Carlyle, Emerson, Harris, 23, 24; partial failure of all statements, 24, 25; clearer modern views,—the artistic, Hazlitt, Hunt, Shelley, Watts, 25, 26, 28; the æsthetic view,—Poe, 26; a phrase of Milton, 27,—of Arnold, 27; the statement still incomplete, 28; poetry as the antithesis to Science, 28, what this means, ib.; illustrated, 29, 30; effect of exact science on, 33, 37; Professor Hardy's view of, 36; Tyndall on, 39; Defined and examined in relation to the other Fine Arts, 41-73; the present a fit time for its consideration, 42; its spirit not reducible to terms, 42; a force, 43, which enters the concrete, ib.; Definition of Poetry in the Concrete, 44; a creation, through invention and expression, 44; a revelation, through insight, 45, 46; as an expression of beauty and truth, 46-48; as an expression of intellectual thought, 48,—of emotion, 49; as eminently an art of speech, 50; its language essentially rhythmical, 51-56, 62; its vibratory thrills,—their rationale, 52; rhythmical factors of, 54; its rhythmical impulse spontaneous, and equal to the degree of emotion, 54, 55; how different from other forms of creative expression, 55,—from imaginative prose fiction, 56,—from rhetoric, eloquence, etc., 59; rhyme, etc., 56; often, however, may be cast in rhythmical prose form, 58; conforms to law, consciously or otherwise, 62; must be articulate, 62, 63; compared with music and the arts of design, 63-71; closely allied with music, 64; its achievements and limitations with respect to sculpture, 67,—to painting, 68; surpasses the rival arts by command of vocal movement, thus infusing Life, 69-71; compact analysis and summary of, 71, 72; universal range of, 75; divided into two main streams,—the impersonal, or creative, and the personal, or self-
