The Mirror and the Lamp  

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The Mirror and the Lamp: Romantic Theory and the Critical Tradition (1953) is a book by M. H. Abrams in which he shows that until the Romantics, literature was usually understood as a mirror, reflecting the real world, in some kind of mimesis; but for the Romantics, writing was more like a lamp: the light of the writer's inner soul spilled out to illuminate the world.

In 1998, Modern Library ranked The Mirror and the Lamp one of the 100 greatest English-language nonfiction books of the 20th century.

Contents

Preface, vii

I. INTRODUCTION: ORIENTATION OF CRITICAL THEORIES, 3

i. Some Co-ordinates of Art Criticism, 6 ii. Mimetic Theories, 8 iii. Pragmatic Theories, 14 iv. Expressive Theories, 21 V. Objective Theories, 26

II. IMITATION AND THE MIRROR, 30

i. Art Is Like a Mirror, 31 ii. The Objects of Imitation: the Empirical Ideal, 35 iii. The Transcendental Ideal, 42

III. ROMANTIC ANALOGUES OF ART AND MIND, 47

i. Metaphors of Expression, 48 ii. Emotion and the Objects of Poetry, 53 iii. Changing Metaphors of Mind, 57

IV. THE DEVELOPMENT OF THE EXPRESSIVE THEORY OF POETRY AND ART, 70

i. Si vis me flere . . . , 71 ii. Longinus and the Longinians, 72 iii. Primitive Language and Primitive Poetry, 78 iv. The Lyric as Poetic Norm, 84 V. Expressive Theory in Germany: Ut Musica Poesis, 88 vi. Wordsworth, Blair, and The Enquirer, 95 vii. Expressive Theory and Expressive Practice, 97

V. VARIETIES OF ROMANTIC THEORY: WORDSWORTH AND COLERIDGE, loo

i. Wordsworth and the Eighteenth Century, 103 ii. Coleridge on Poems, Poetry, and Poets, 114

VI. VARIETIES OF ROMANTIC THEORY: SHELLEY, HAZLITT, KEBLE, AND OTHERS, 125

i. Shelley and Romantic Platonism, 126 ii. Longinus, Hazlitt, Keats, and the Criterion of Intensity, 132 iii. Poetry as Catharsis: John Keble and Others, 138 iv. The Semantics of Expressive Language: Alexander Smith, 148

VII. THE PSYCHOLOGY OF LITERARY INVENTION: MECHANICALAND ORGANIC THEORIES, 156

i. The Mechanical Theory of Literary Invention, 159 ii. Coleridge's Mechanical Fancy and Organic Imagination, 167 iii. The Associative Imagination in the Romantic Period, 177

VIII. THE PSYCHOLOGY OF LITERARY INVENTION: UNCONSCIOUS GENIUS AND ORGANIC GROWTH, 184

i. Natural Genius, Inspiration, and Grace, 187 ii. Natural Genius and Natural Growth in Eighteenth-Century England,198 iii. German Theories of Vegetable Genius, 201 iv. Unconscious Invention in English Criticism, 213 V. Coleridge and the Aesthetics of Organism, 218

IX. LITERATURE AS A REVELATION OF PERSONALITY, 226

i. Style and the Man, 229 ii. Subjective and Objective, and Romantic Polysemism, 235 iii. Subjective and Objective in English Theory, 241 iv. The Paradox of Shakespeare, 244 V. Milton, Satan, and Eve, 250 vi. The Key to Homer's Heart, 256

X. THE CRITERION OF TRUTH TO NATURE: ROMANCE, MYTH, AND METAPHOR, 263

i. Truth and the Poetic Marvelous, 265 ii. The Logic of Deviation from Empirical Truth, 268 iii. The Poem as Heterocosm, 272 CONTENTS XI iv. Poetic Truth and Metaphor, 285 V. Wordsworth and Coleridge on Personification and Myth, 290

XI. SCIENCE AND POETRY IN ROMANTIC CRITICISM, 298

i. Positivism vs. Poetry, 300 ii. Newton's Rainbow and the Poet's, 303 iii. Poetic Truth and Sincerity, 312 iv. Poetry as neither True nor False, 320 V. The Use of Romantic Poetry, 326 Notes, 337 Index, 393

Index

Index Books that have been cited frequently in the text are listed here at the end of the entry under the name of the author. The reference that follows the short title is to the note identifying the edition used. Abernethy, John, 170 Acquinas, Thomas, 240 Addison, Joseph, 197, 198, 251, 281, 358 n-33, n.52, 380 n.24, n.36, 383 n.62, 384 n.79, 385 n.84; figures of speech as creations, 288; ideas as visual images, 160; poetic marvelous, 267, 271; 'mechanical rules,' 199; natural and artful genius, 187-8, 195, 367 n.8; poet as creator of new world, 274-5, 276, 277, 279; secondary sense-qualities, 265, 347 n.69 Aeolian lyre, see Wind-harp Aeschylus, 34, 128 Aesthetics, problems and methods in history of, 3-6 Aikin, John, 304, 359 n.52, 382 n.46, 385 n.86 Akenside, Mark, 64, 86, 347 n.69, 3^3 n.38, 383 n.6i, 387 n.26 Alberti, Leon Battista, 32, 341 n.22 Alison, Archibald, 347 n.74 AUport, G. W., 389 n.70 Analogical thinking in aesthetics, viii, 30-32, 35, 53, 262. See also Biological metaphors; Creator; Emanation; Heterocos- mic analogue; Lamp; Metaphors of expression; Metaphors of mind; Mirror; Overflow; Plant; Plastic; Prometheus; Wind-harp Analogical thinking in psychology, 150 Animation, see Personification Aristotle, 12, 14, 15, 22, 23-4, 27, 28, 48, 56, 59, 74, 80, 84, 87, 89, 92, loi, 104, I37» 138, 139, 146, 157, 162, 171, 219, 268, 284, 331, 348 n.2, 362 n.22, 380 n.27, 388 n.50; 'riticizes art as art, 10; form and unity, 163-4; concept of imitation, 9-1 1 ; poetic madness, 188; metaphors of mind, 57; music as imitation. 91; objective theory, 26, 34; ends of oratory, 71; contributions to organic theory, 185; poetry distinguished from his- tory, 298-9, 316; poetic probability, 267; universal in poetry, 36-7 Arnold, Matthew, 144, 229, 259, 333; poetry and religion, 334-5; scientific vs. poetic description, 312; sincerity as criterion, 319; fragment as touchstone in, 137 Art for art's sake, 27, 283, 320; development of concept, 326-8 Art of Poetry on a New Plan, The, 29 Association of ideas, in eighteenth-century psychology, 162-3; i" romantic period, 177-81 passim, 366 n.86; by emotional links, 178 Audience, in expressive theory, 25-6; in prag- matic theory, 15; in Goethe's criticism, 90; in Wordsworth's, 108-9 Augustine, St., 362 n.15, 374 n.44 Avison, Charles, 92 Babbitt, Irving, 33, 94, 224, 353 n.84 Bacon, Francis, 127, 142, 216, 265, 345 n.49, 364 n.6o; 'felicity' in invention, 193; poetry and 'desires of the Minde,' 139; poetry referred to imagination, 156; poetry vs. science, 300 Bailey, Benjamin, 314 Bain, Alexander, 335 Baker, C. D., 367 n.12 Barclay, Alexander, 32 Barnes, Thomas, 351 n.6o Barstow, Marjorie L., 353 n.91 Bate, W. J., 375 n.6i Batteux, Charles, 23, 96, 341 n.21, 350 n.50, 382 n.45; 'la belle nature,' 35; compared to Hurd, 18-19; imitation and rules, 12-13. i-" Beaux Arts, 337 n.19 Baudelaire, Charles, 25 393 394 INDEX Beach, J. W., 362 n.20 Beattie, James, 29, 341 n.21, n.24, n.25, 343 n.49, 352 n.77, 373 n.23; ends of poetry, 16; figures of speech, 288; imitation, 36; poetic marvelous, 269; music, 92, 94; pragmatic theory of, 18; on science of mind, 159. Essays on Poetry and Music, 338 n.34 Beaumont, Sir George, 329 Beaumont and Fletcher, 176, 199 Belief, problem of, in poetry, 323-6 'Belle nature, la,' 12, 18, 35, 264 Bentham, Jeremy, 141, 149, 302, 320, 330, 334. 335. 387 n.17; on nature of poetry, 300-301, 333 Bcnziger, James, 369 n.46 Berkeley, George, 361 n.14 Bible, as polysemantic, 240, 257 Bible, poetry of, in Coleridge's theory, 295; effect on critical theory of, 76, 86; and natural genius, 187; as primitive poetry, 82 Bingham, Peregrine, 301-2 Biological metaphors, in aesthetics, 54, 124; in Carlyle, 217; in Coleridge, 169-70; in Goethe, 206-7; in Herder, 204-5 Birch, W. J., 378 n.io6 Black, John, 246 Black, Max, 360 n.ioo Blackmore, Sir Richard, 232-3, 251, 267-8, 343 n.49 Blackwell, Thomas, 80-81, 92, 350 n.39, 378 n.109 Blair, Hugh, 81, 96, 129, 349 n.34; expressive theory in, 95-6; poetic marvelous, 269; primitive poetry, 82, 83, 84, 95; primitivism, 105; uniformity as criterion in, 104 Blake, William, his mythology, 296; organic ideas in, 216; interpretation of Paradise Lost, 251-2, 254; poetry and 'the Permanent Realities,' 131, 313; on Reynolds' Discourses, 56; on inspired composition, 215-16. Poetry and Prose, 345 n.42 Bloomfield, Robert, 344 n.25 Blunt, Anthony, 381 n.38 Boccaccio, Giovanni, 240-41, 380 n.37, 384 n.8o Bodmer, Johann, 276-8, 283, 288 Boehme, Jakob, 216, 218, 346 n.57, 356 n.59 Boileau, Nicholas, 85, 114, 175, 389 n.71; emotions in poetry, 72; translation of Longinus, 74, 194; poetic marvelous, 269; poetic truth, 263 Bond, D. F., 345 n.52 Book of Genesis, 73, 76 Borgerhoff, E. B. O., 367 n.22 Boswell, James, 230 Bouhours, Dominique, on figurative language, 287; 'le je ne sais quoi,' 193-4; truth in poetry, 269, 384 n.79, n.8i Bowles, William Lisle, 294 Bowra, C. M., 313-14 Bowring, John, 340 n.68 Bowyer, Rev. James, 124 Boyle, Robert, 164 Bradley, A. C, 98, 283-4, 39^ n.io6 Bray, Rene, 338 n.21, 379 n.12, 380 n.20, n.25, n.30 Bredvold, L. I., 342 n.46, n.48 Breitinger, Johann, 276-8, 283, 288 Brooks, Cleanth, 222, 355 n.58, 390 n.99 Brown, Charles Armitage, 246-7, 378 n.io6 Brown, John, 81, 93 Bruno, Giordano, 184, 218, 356 n.59, 3^9 n.50, 381 n.39 Bryant, William Cullen, 310 Bryson, Grace, 350 n.34 Buffon, G. L. L., on 'le style est I'homme,' 373 n.13 Bullitt, W. J., 375 n.63 Bulwer, Henry Lytton, 333, 378 n.io6 Bundy, M. W., 362 n.15 Burke, Edmund, 150, 361 n.9, 362 n.14, n,2i Burnet, Thomas, 117 Burns, Robert, 72, 144, 248, 319, 329; composition as catharsis, 138-9; as primitive poet, 105, 350 n.46; on Satan as hero, 251; Wordsworth's defense of, 102 Burrowes, Robert, on style the revelation of personality, 234-5, 258, 377 n.103, 378 n.io6 Burton, Robert, 307 Burtt, E. A., 361 n.5, 362 n.30 Bush, Douglas, 256, 380 n.35, 385 n.96, 386 n.98, 387 n.9, 388 n.36 Butt, John, 373 n.19 Byron, Lord, 98, 142, 144, 146, 147, 191, 244 248, 347 n.77, 386 n.97; poetry as catharsis, 139; poetry as expression, 49, 50-51. Worths, 343 n.8 Bysshe, Edward, 384-5 n.8i Cambridge Platonists, their metaphors of mind, 59-60 Cameron, K. N., 356 n.4 Campbell, George, 264, 361 n.9 Campbell, Thomas, 308 Carlyle, Thomas, 29, 48, 200, 229, 242, 255, 317. 321, 358 n.34; change as essence of things, 219; on contemporary criticism, 226; language as 'Flesh-Garment' of thought, 385 n.90; natural vs. artificial, 217; organic theory in, 216-17; poet vs. audience, 26; poet as creator, 282; poet as seer, 131, 313; literature as self-revelation, 248-9, 258; sincerity as criterion, 72, 319, 389 n.75; unconscious, 216-17. Worl{s, 339 n.62 Carnap, Rudolph, 151, 390 n.88 Castelvelro, 80, 190 Catharsis, poetry as, 138-9 Caxton, William, 32 Cervantes, 241 Chateaubriand, F. R., 98 Chaucer. Geoffrey, 244, 245, 319 Chesterfield, Lord, 251 Chicago critics, 28 Cicero, 15, 32, 104, 157, 166; opposition to Epicurean atomism, 164; imitation of Ideas, 43, 44, 45; ends of oratory, 16, 71 Clark, A. F. B., 384 n.79 Clarke, Charles Cowden, 136 Clarke, Charles and Mary Cowden, 358 n.35, 376 n.64 Classical and romantic as critical distinction, 238-9, 242 Coburn, Kathleen, 372 n.102 Coldicutt, Dorothy, 353 n.90 Coleridge, Hartley, 247, 294 Coleridge, Samuel Taylor, 28, 29, 45, 94, 229, 249, 255, 257, 264, 313, 321, 333, 334, 335, 342 n.48, 343 n.20, 347 n.77, 348 n.i2, 349 n.i6, n.31, 353 n.89, n.90, 362 n.26, 366 n.99, 391 n.iii; on anal- ogy. 35; association of ideas, 366 n.86; and Cambridge Platonists, 59; criticism grounded in activity of mind, 115; close relation of criticism and metaphysics, 1 14-15; 'Dejection: an Ode,' 66-8; cri- tique of Wordsworth's theory of diction, 116-24; on facts and premisses, 31; fig- urative language, 120-22, 123; genius vs. talent, 176, 365 n.76, 370 n.69; re- lation to German philosophy, 170, 218, 346 n.57; to Schelling, 52, 174, 314, 356 n-59. 357 n.20; to A. W. Schlegel, 172, 213, 386 n.102; on seminal ideas, 172, 177; on imagination and fancy, 161 -2, 168-9, 175-6; contrasted to contemporary theories of imagination, 177-83 passim; on imagination and inanimation, 55, 68, 292-3, 294-5; imagination as keystone of critical theory, 55; imagination and myth, 293-5. 296; primary vs. secondary imagination, 119, 282-3; imagination not 'the organ of the supersensuous,' 314; INDEX 395 internal and external in poetry, 52; judgment and design, 173-4; judg- ment in poetry, 224; organic laws vs. rules, 222-5; ly'C» 98; opposition to mechanism, 64-5, 160, 169-70; metaphors of mind, 58, 60-61, 67-9, 158, 346 n.66, 364 n.68; metaphor of the plant, 68-9, 369 n.50; on meter, 1 16-17, 121; view of mind revolutionary, 158; 'natura naturans' and 'naturata,' 131, 245, 314; reconciliation of nature and art, 116, 120-23; retention of nco-classic tenets, 117, 124; 'On Poesy or Art,' 52; organic criteria of value in, 220-22; on organic genius, compared to Edward Young, 199; organic theory in, 124, 371 n.94; organic unity, 174-5: origin of poetry, loi; emphasis on short passages, 134; effect of passion on perception, 54, 55; personified abstractions, 291; distinction between poem and poetry, 1 16-18, 121; poetry as expression, 48; as ideal, 56; contradis- tinguished from science, 299; poet's en- dowment, 102; as psychologist, 141; reason, 176, 314; reconciliation of opposites in, 56, 118-20, 220, 222; relation of science and poetry, 310; Milton as self-revealed, 253, 254; Shakespeare's subjectivit)', 244-5; critique of spontaneity as criterion, 121 -2; subjective and objective, 242-3, 375 n.49; syncretism, 175-6; the unconscious, 173-4, 372 n.102; 'the willing suspension of disbelief,' 324-6. Btographia Uteraria, 344 n.30; Complete Worlds, 345 n.45; Lay Ser- mons, 348 n.8o; Miscellaneous Criticism, 343 n.5; Table Tatf(, 340 n.3 Collier, Mary, Poetical Washerwoman, 105 Collins, William, 86, 271, 289, 296 Condillac, £ticnne de, 81, 350 n.39, 380 n.25 Cousin, Victor, 384 n.68 Cowley, Abraham, 72, 231, 266, 267, 270, 274, 351 n.55, 372 n.8, 373 n.i6; poetry as creation, 288, 381 n.43; on the new philosophy, 265; importance in theory and writing of odes, 85-6 Cowper, William, 291 Crane, Ronald S., 39-40, 299, 339 n.48, 355 n.57. Critics and Criticism (cd.), 337 n.3 Creator as aesthetic metaphor, 42, 368 n.24; applied to figures of speech, 288-9; and poem as 'a second nature,' 272-9, 281-2; and poet as Prometheus, 280-82; rela- tion to theory of poetry as disguised sclf- revelalion, 239-40, 257-8, 261-2, 27Z See also Heterocosmic analogue 396 INDEX Creator as metaphor of mind, 62, 63, 65, 68, 162 Criticism, criteria of validity in, 4-5; deductive and inductive, 12-13, ^8, 23; value of diversity in, 5; orientations in, 6-7; not a science, 4 Crocc, Benedetto, 103, 359 n.66 Culverwel, Nathanael, 59-60, 346 n.57, 348 n.79 Dante, 127, 128, 130, 140, 176, 240, 252, 272, 319 Darwin, Erasmus, 54, 387 n.27, 389 n.62 Davenant, William, 190, 270, 279, 368 n.27, 388 n.50; opposition to marvelous, 266-7; Preface to Gondibert, 156 Decorum in neo-classic theory, 290 Demosthenes, 73, 133 Dennis, John, 84, 137, 251, 274, 368 n.26, 381 n.42; enthusiasm, 367 n.i8; place in development of expressive criticism, 74-6; imitation of the Idea, 44; lyric, 84-5; emotional origin of poetry, 78; rules and order, 17; truth in poetry, 263. Critical Worl{S, 338 n.37 De Quincey, Thomas, 94, 134, 146, 242, 332, 349 n.i6, 375 n.50, 386 n.5; on dreams, 359 n.6o, 370 n.71; style as incarnation of thought, 291; organic concepts in, 371 n.82; effect of passion on perception, 54; 'literature of power,' 143-4; use of poetry, 330-31; and Wordsworth's crit- ical theory, 143. Collected Writings, 344 n.33 Descartes, Rene, 12, 65, 186, 265 De Selincourt, Ernest, 353 n.94 Dickinson, Emily, 137, 387 n.33 Donne, John, 274, 381 n.42 Dowdcn, Edward, 249 Draper, J. W., 352 n.75 Drydcn, John, 137, 175, 274, 290, 291, 348 n.4, 358 n.42, 368 n.39; design in poetry, 164-5; figures as products of passion, 290; 'happiness' in invention, 193; poetic marvelous, 270; invention of mythical beings, 161; on Paradise Lost, 250, 251; rules, 16-17; literature as self-expression, 232. Essays, 338 n.36 Du Bos, J. B., 91, 198, 390 n.91 Duck, Stephen, Thresher Poet, 105 Duff, William, 81, 337 n.17, 347 n.74, 362 n.2i, 368 n.39, 383 n.57, 387 n.29; cre- ative imagination, 382 n.46; original genius, 84; personification as creative, 289; primitive poetry, 83. Essay on Original Genius, 337 n.17 Du Fresnoy, C. A., 373 n.15 Dyson, H. V. D., 373 n.19 El Greco, 43 Eisler, Rudolf, 374 n.33 Eliot, T. S., 25, 27, 358 n.42 Elledge, Scott, 342 n.34 Elliott, Ebenezer, 343 n.14 Emanation, metaphor of, 58-9. See also Overflow Emerson, R. W., 376 n.74 Emmet, Dorothy M., 340 n.2 Emotions, effect of, on objects of perception, 53-6; in theory of Longinus, 73; in eight- eenth-century criticism, 71-8 passim Emotive vs. descriptive language, history of the distinction, 150-51; in Carnap, 151; in 'The Enquirer,' 97; in Lowth, 76-7; in J. S. Mill, 149; in I. A. Richards, 150; in romantic criticism, loi; in Alexander Smith, 149-51; in Vico, 80 'Enquirer, The' (William Enfield), 96-7 Erhardt-Siebold, Erika von, 344 n.25, 346 n.64 Expressive theory, definition and survey of, 21-6; place of emotions in, 53-6; characteristic of romantic criticism, 7, loi; in modern criticism, 3; of music, 92-3; favors idea of literature as self-revelation, 226-7. ^c^ o^so Metaphors of expression Fairchild, Hoxie N., 328 Fancy, Coleridge's theory of, 168-9, ^7^- ^^^ also Imagination Farquhar, George, 390 n.91 Faulkner, William, 113 Fenwick, Isabella, 294, 309 Ferguson, Adam, 81, 83, 349 n.34 Fichte, J. G., 62, 90, 200, 205, 216, 347 n.67, 369 n.53 Ficino, Marsilio, 272, 342 n.43 Fiesel, Eva, 350 n.40 Figures of speech, as mode of creation, 288-9; as expression of emotion, 102, 153, 290; as incarnation of thought, 290-91; as or- naments, 288, 290; justifications of, in neo-classic theory, 286-8; and criterion of truth, 285-9 Finsler, Georg, 377 n.91 Fitzosborne, Thomas, 380 n.14, "-36 Flaubert, Gustave, 262, 328 Fontenelle, Bernard de, 197 Fox, W. J., 50, 343 n.14, 344 n.35, 354 n.i2, 375 n.50 France, Anatole, 1 15 Freart, Roland, 373 n.15 Freimarck, Vincent, 349 n.17 INDEX 397 Freudian concepts, in Hazlitt, 141; in Kcbic, 145, 147-8, 261; and romantic poly- semism, 241 Fricker, Sara, 254 Fuller, h. A. G., 58 GHM, author of 'Thoughts on Ancient and Modern Poetry,' 306 Gascoignc, George, 32 Garrick, David, 382 n.48 Genius, distinguished from talent, 176, 365 n.76, 370 n.69 Genres, theory of, in expressive criticism, 23-4, 148; in Keble, 145-6; in mimetic and pragmatic criticism, 146; in Sir P. Sid- ney, 15, 24; in Alexander Smith, 150; in J. G. Sulzer, 89; distinction between subjective and objective genres, 241-2, 243. 259, 375 n.52 Gerard, Alexander, 178, 362 n.23, 363 n.43; 'design' in poetry, 164, 165, 166; importance of Essay on Genius, 157; cre- ative imagination, 161; inspiration, 191-2; i analogue of plant in, 167, 201; science of mind, 159. Essay on Genius, 361 n.9 German criticism, influence in the eighteenth century, 88; importance of music in, 91, 93-4 Gibbon, Edward, 135, 231 Gifford, William, 361 n.105 Gilbert, A. H., 381 n.38 Glanvill, Joseph, 266 Godwin, William, 126, 330, 332, 391 n.121 Goethe, J. W., 98, 208, 217, 229. 242, 243, 248, 321, 344 n.29, 353 n.84, 358 n.34; on Holbach's mechanism, 186; organic theory in, 205-7; poem as end in itself, 327; poet and audience, 90; poet as Prometheus, 281, 383 n.64; artistic truth fs. natural truth, 278-9; unconscious in- vention, 210-11; Werthers Leiden, 44, 142 Goldsmith, Oliver, 37, 235, 349 n.23 Gosson, Stephen, 274 Gothic novel, 271 'Grace, the,' in works of art, 193. See also 'Je ne sais quoi, le' Granville, George, 287 Gray, Thomas, 82, 86, 87, 191, 268, 271, 289, 291; 'Elegy in a Country Churchyard,* 40, 153 Griffith, Mrs. Elizabeth, 382 n.48 Guarini, Giambattista, 381 n.39 Hallam, Henry, 375 n.56 Haller, Albrccht, 204 Haiiiann, J. G., 82 Hamilton, William, 213-14 Handel, G. F., 92 Hardy, Barbara, 366 n.ioi Hardy, Thomas, 1 13 Harris, Frank, 249 Harris, James, 13, 196 Hartley, David, 166, 177, 332, 362 n.26, 363 n.37, 366 n,86, 390 n.92; association of ideas, 162-3; science of mind, 159. Observations on Man, 347 n.73 Hartmann, Eduard von, 214 Haydon, Benjamin, 303, 309 Haylcy, William, 376 n.77 Hazlitt, William, 29, 146, 151, 242, 246, 343 n.20, 344 n.30, 354 n.i2, 391 n.124; all emotions are poetry, 154; effect of emotions on perception, 54-5; 'grace,' 368 n.39; gusto and intensity, 134-5; ideal in art, 56; imagination, 179-80; impressionism as critical method in, 134-5; on Milton's self-revelation, 254-5; mirror and lamp as poetic analogues in, 52; on parallel of poetry and music, 51; poetry as expression, 48-9, 50, 52; poetry motivated by unrealized desires, 141 -3; 'On Poetry in General,' 54; as psychologist, 140-41; on science and poetry, 311, 386 n.5; opposition to contemporary subjectivism, 144; on Shakespeare's 'intui- tive sympathy,' 245; poetic truth, 315; unconscious invention, 215. Complete Worl{s, 343 n.2o Herder, J. G., 205, 216, 369 n.54, 385 n.89; poetry as creation, 281; expression of feeling, 90; and Bishop Lowth, 78; music, 93; organic theory in, 204-5; on origin of poetry, 82; aesthetic relativism, 219-20; on literature as self-expression, 227, 236; 'Vom Erkennen und Empfinden,' 204, 236 Heron, Robert (John Pinkerton), 223, 383 n.58 Hcrrick, Robert, 190 Hcterocosmic analogue (the poem as a 'second nature'), 35; the poem as end in itself, 327; applied to figures of speech, 288-9; in modern criticism, 262, 283-4; and objective theory, 27, 284; and rcintcrpretation of probability, 272-84. See also Creator as aesthetic metaphor Him, Yrjo, 359 n.66 History as opposite of poetry, loi Hobbcs, Thomas, 21, 58, 59, 65, 141, 158, 161, 164, 180, 270, 279, 300, 362 n.22, n.26, 363 n.34, 379 n-7. 383 n.58; on 398 INDEX Hobbcs, Thomas (Cont.) emotive language, 150; figurative lan- guage, 286; inspiration, 190; opposition to poetic marvelous, 265, 266-7; ^^^ psychology of invention, 156-7 HofTman, E. T. A., 94 Holbach, Baron D', 163, 166 Homer, 32, 34, 73, 82, 133, 187, 188, 195, 219, 231-2, 242, 244, 248, 266, 267, 319, 331; objectivity, 238; personality, in- terpreted by Keble, 259-61; subjectivity, 256-7 Hooker, E. N., 349 n.i6 Horace, 15, 17, 44, 72, 74, 104, 290, 342 n.47, 350 n.50, 367 n.7; poetry as an art, 164; 'si vis me flere,' 71; 'ut pictura pocsis,' 32; pragmatic theory of, 16 Hoskins, John, 377 n.96 Housman, A. E., 138 Howard, W. G., 340 n.ii Hughes, John, 288-9, 37^ n.io Hugo, Victor, 114 Hulme, T. E., 25, 320, 339 n.55 Hume, David, 158, 161, 268, 270, 332, 363 n.43, 365 n.84, 390 n.92; association of ideas, 162; 'la belle nature,' 36; design in composition, 165; mind as projective, 63-4; science of mind, 157, 159. Essays Moral, Political and Literary, 341 n.15; Treatise of Human Nature, 347 n.72 Hungerford, Edward B., 386 n.98 Hunt, Leigh, 29, 134, 136; imagination and fancy, 182; poetry as expression, 49; r.cirnce and poetry, 311; sincerity as cri- terion in, 319; poetic truth, 315. Irti- agination and Fancy, 343 n.io Hunter, John, 170 Hurd, Richard, 23, 40, 97, 139, 157, 307, 341 n.28, 374 n.35, 379 n.3, 390 n.92; imitation, 11 -12, 33, 37, 45, 342 n.47; loss to poetry through the new philosophy, 305; poetic marvelous, 271; pragmatic theory of, 18-19; pure poetry, 351 n.56; poetical truth vs. philosophical truth, 279-80; individuality in style, 230-31. Worlds, 337 n.i6 Hutchinson, Sara, 254 Ideal, in nco-classic theory, 35; empirical in- terpretation of, 35-42; transcendental in- terpretation of, 42-6; in romantic theory, 53, 56 Illusion, theory of fxaetic, in eighteenth century, 270-71, 324; in romantic period, 324-5 Imagery as index to personality, 235, 260 Imagination, as creative. 22, 275, 277, 281-2, 382 n.46, n.47, n.48, n.51; eighteenth-century psychology of, 161 -3; and personifi- cation, 55, 64; in Coleridge's theory, 119, 168-9, 175-6, 281-2; in romantic theory, 177-83; in Schelling's philosophy, 209-10; as sympathetic faculty, 130. See also Sympathy as aesthetic concept Imitation, as opposed to expression, 48; place in expressive theory, 24-5, 88; truth of, 263-4. See also Mimetic theory; Mirror as analogue Impressionistic criticism, in Longinus, 73-4, 134-5; Hazlitt, 134-5; Pater, 135-6 Inge, Dean W. R., 262 Inspiration, theory of, facts and hypotheses in, 189-93 passim; in development of or- ganic aesthetics, 188-93, I99) 203-4, 209- 10, 217 Intensity as aesthetic criterion, history of, 132-8: in Longinus, 73-4; Longinian in- fluence on, 134-8 passim; in J. G. Sulzer, 90 Irenaeus, St., 257-8 Irving, Washington, 302 Isaiah, 117 Jacob, Hildebrand, 349 n.23 Jaeger, Werner, 185 James. Henry, 319-20 'Je ne sais quoi, le,' 193-5, 200, 201, 203, 209-10, 369 n.49 Jenisch, Erich, 347 n.67, 352 n.71 Jeffrey, Francis, 28, 340 n.68 Job, Book of, 128 Johnson, Dr. Samuel, 29, 85, 97, 133, 149, 155, 251, 276, 295, 341 n.i6, n.25, 351 n.54, 368 n.35, 380 n.36, 382 n.45, n.48, 384 n.79, 390 n.91; reliance on the com- mon reader, 109; on Dryden as critic, 16- 17; 'inexplicable elegancies,' 194; emotions in poetry, 71-2; generic vs. indi- vidual, 38-9, 40; imagination in wishful thinking, 140; inspiration, 191; opposition to mythology in poetry, 268; poetry as mirror in, 32, 36; poetry and painting, ^i; relation of literature to personality, 232-4; critical principles in Preface to Shal{espeare, 19-20, 107; moral purpose of poetry, 329, 330; on individuality in style, 230; uniformity of human nature, 38; compared to Wordsworth, 104-14 passim. Johnson on Shakespeare, 338 n.41; Lives of the English Poets, 338 n.35: Worlis, 339 n.47 Jonas, Leah, 367 n.12 INDEX 399 Jones, Henry, Poetical Shoemaker, 105 Jones, R. F., 384 n.74 Jones, Sir William, in development of expressive theory, 87-8, 89 Jonson, Ben, 16, 176, 385 n.89; on comedy, 32; language an image of mind, 372 n.9; 'the good poet is a good man,' 229 Joyce, James, 378 n.iio Jung, Carl, on collective unconscious, 211-12 Kallich, Martin, 362 n.23 Kames, Henry Home, Lord, 29, 362 n.23, 365 n.84, 380 n.36, 390 n.92; imitation, 14; the improbable, 268; organic unity, 368 n.44; science of mind, 159; standard of taste, 109; visual images, 160-61; 'waking dream,' 279. Elements of Criti- cism, 338 n.25 Kant, Immanuel, 5, 90, 212, 216, 236-7, 365 n.69, 374 n.33; 'Copernican revolution' in epistemology, 58; aesthetic attitude as 'disinterested,' 327; and objective theory of art, 27; organic relations, 174; contributions to organic theory, 207-8 Kaufman, Paul, 353 n.89 Kc'ast, William Rea, 233, 339 n.47, 341 n.30, 354 n.27, 373 n.2i Keats, John, 94, 98, 137, 294, 296, 306, 309, 310, 319, 377 n.93, 386 n.97; on poet's audience, 26; cathartic effect of composing, 139; 'happier moment' in composing, 214; empathy, 347 n.77; 'the truth of imagination,' 314-15; intensity as cri- terion in, 136; 'Lamia,' 303-4, 306-8, 311; and Longinus, 136; fear poetry a delusion, 303, 307-9, 312; Shakespeare's 'innate universality,' 246; use of poetry, 328-9. Letters, 339 n.6o Keble, John, 29, 149, 150, 244, 339 n.58, 344 n.35, 351 n.59, 352 n.83, 386 n.5; analysis of critical theory, 144-8; canons for using literature as an index to personality, 259-61; disguised self-expression, 147, 240, 257-8; compared to Freud, 145, 147-8; imitation and exj)res- sion, 48; and Bishop Lowth, 78; parallel I between poetry and music, 5 1 ; on Paradise Lost, 252-3; psychology of reader, 148; self-expression in various genres, 99; sincerity as criterion, 318-19; spontaneity as criterion, 298. Lectures on Poetry. 339 n.58 Kircher, Athanasius, inventor of 'camera obscura," 61; and wind-harp, 51 Kittredge, George Lyman, 249, 262 Knight, Richard Payne, 271, 354 n.19 Knowlton. E. C, 353 n.89 Krakeur, L. G., 352 n.79 Krutch, Joseph Wood, 232-3 Kuehncr, Paul, 350 n.36 La Bruyere, Jean de, 40 La Dricre, J. C, 343 n.i Lamb, Charles, 134, 303, 307, 372 n.iio, 375 n.57; imagination, 179; self-expression in novel, 377 n.ioi Lamp, as analogue for poetic mind, 52, 54, 58-60, 67 Landino, Cristoforo, 272-3 La Rochefoucauld, Francjois, 141 Lawrence, D. H., 312 Leavis, F. R., 113 Lee, R. W., 340 n.ii Leibnitz, G. W., 211, 212, 285, 369 n.48, n.49; influence on theory of poetic 'cre- ation,' 276-7, 383 n.67; contributions to organic theory, 202, 204, 218; on unconscious ideation, 202 Leonardo da Vinci, 32, 43, 381 n.38 Lessing, G. E., imitation, 13; poetry as another world, 280 Levin, Harry, 359 n.6o Lewes, George Henry, 319, 385 n.90, 386 n.5 Literature as self-expression, canons for in- terpretation of, 259-60; circularity in application of concept, 253-4, 255 Locke, John, 21, 58, 61, 64, 132, 157, 216, 217, 361 n.14; Coleridge's criticism of, 172; metaphors of mind, 57-8; contempt for poetry, 300; influence on eighteenth- century psychology, 159, 160, 161; on secondary qualities, 62-3 Lockhart, John Gibson, 242, 261, 340 n.68 Lodge, Thomas, 367 n.8 Lomazzo, Giovanni, 342 n.43 Longinus, 104, 139, 260, 290, 349 n.i6, n.32, 358 n.33, n-42, 364 n.56, 367 n.i8, 385 n.85; critical theory of, 22; importance in development of expressive theory, 72-4; impressionism in, 134-5; intensity as cri- terion, 132-3; and Longinians, 74-8 passim: literature as self-expression, 226, 228 Lovejoy, Arthur O., 198, 238, 341 n.23, 34^ n.57, 354 n.25, 371 n.99, 374 n.38, 382 n.49. Essays in the History of Ideas, 341 n.23 Lowth, Robert, 78, 84, 150; in development of expressive theory, 76-8 Lucas, F. L., 183, 227, 366 n.ioi Lucretius, 79, 349 n.32, 362 n.15 Lussky, A. E., 239, 240 400 INDEX L\ric, importance in development of expressive theory, 84-8, 89, 91, 93, 97-8; comparative place in neo-classic and romantic theory, 85: place of emotion in, 72; as imitation, 350 n.50 Lyrical Ballads, Preface to, in history of expressive theory, 21-2, 23; analysis of artrument in, 106-12; as romantic manifesto, 1 00 Macaulay, Thomas Babinijton, 375 n.52, 377 n.85; imitation, 28; poetry and civiliza- tion inversely related, 306, 307; poetry vs. science, 316. Critical and Historical Essays, 340 n.67 McEldcrry, R. B., Jr., 356 n.4 MacKail, R. W., 355 n.46 McKenzie, Gordon, 365 n.72 McKcon, Richard, 37, 337 n.2, n.5, n.io Maclean, Norman, 351 n.51 MacLcish, Archibald, 27-8, 283 Mann, Elizabeth L., 342 n.37, 372 n.io, n.15 Marlowe, Christopher, 228 Marvelous, in poetry, attack and defense in eighteenth century, 265-71; in Coleridge's theory, 293-5; as second creation, 275-9; in Wordsworth's theory, 293-5 Masson, David, 49, 249, 384 n.71 Mechanism, in cosmology, 65, 169-70; in theory of mind, 159-67; vs. organicism, 186 Metaphors in aesthetic discourse, 150 Metaphors of expression, 48-53 Metaphors of mind, in eighteenth vs. nineteenth centuries, viii, 57-69, 160; dis- tinction between given and projected, 62, 315; marital and familial, 66-7; in ro- mantic theory, 62-8 Meter, as emotional expression, 102, 153; Coleridge's theory of, 117, 121; Wordsworth's theory of, 116-17 Mill, James, 177, 302, 320, 333 Mill, John Stuart, 29, 84, 89, 150, 258, 301, 303. 352 n.83, 371 n.75, 389 n.64; criti- cal theory analyzed, 23-5; poetry describes things 'as they appear,' 54; as humanist, 334; poetic illusion, 323; as- sociative imagination, 177-8; derogation of imitation in art, 88; intensity as cri- terion, 136; compared to Keble, 148-9; lyric, 98; 'poet by nature,' 102-3; poctry as non-assertional, 320-22, 323; as concrete, 317; as expression, 48, 49; as soliloquy, 25, 326, 333; and as distin- guished from rhetoric, 321; science and poetry, 299, 311-12, 321; use of poetry, 333-5. Early Essays, 339 n.50 Milton, John, 86, 98, 127, 130, 133, 134, 136, 176, 180, 187, 191, 215, 217, 244, 245, 268, 288, 295, 296, 315, 316, 324, 329, 358 n.45, 365 n.73; and poetic marvelous, 276-7; self-revealed in his poctry, 250-56; on Shakespeare's 'woodnotes wildc,' 197; poetry as 'simple, sen- suous, passionate,' 75, 242, 348 n.12; as subjective poet, 242; on visibly-invisible God, 240 Mimetic theory, definition and survey of, 8-14; and original genius, 12, See also Mirror as analogue Mineka, F. E., 343 n.14, n.i6, 375 n.53, 389 n.64, 392 n.133 Minturno, 348 n.2 Mirror as analogue, 30, 32-5, 42, 272; in early nineteenth century, 50; in Shelley's criticism, 127, 130; as metaphor of mind, 57, 59, 160, 287 Moir, George, 386 n.5, 388 n.40 Moir, Rev. J., 344 n.34, 345 n.42, 351 n.56, 382 n.45; originality and imitation, 12; variety vs. uniformity, 41. Gleanings, 337 n.i8 Monk, Samuel H., 348 n.9, 367 n.22 Montagu, Mrs. Elizabeth, 305-6, 382 n.48 Montaigne, M. £., 122 Moore, G. E., 365 n.70 Moore, Thomas, 49 Moritz, Karl Philipp, 327 Morley, John, 391 n.125 Morris, Charles, 14 Muirhead, John Henry, 283 Mailer, Max, 81 Murdock, Patrick, 233-4 .Murphy, Arthur, 361 n.9 Murray, Henry A., 261 Murry, Middleton, 256 Music, importance in expressive theory, 91-4; paralleled to poetry, 50-51, 93-4 Natural genius, and imitation, 12; and ani- mal instinct, 197; analogized to plant, in England, 198-200; and in Germany, 203-13 passim; in development of or- ganic theory, 187-8, 195-201, 207-8, 225 Nature as norm, in Coleridge, 116, 120, 124; in Wordsworth, 105-6, 110-11 Nature vs. art, in theory of natural genius, 188, 198, 217; in J. S. Mill, 24; in Wordsworth, 111-13 Neo-classic criticism, concept of imitation in, 11; on question of emotions in poetry. 71-2; generality vs. particularity, 39-41; theory of music, 91-3; contrasted to ro- mantic criticism, 29, 94, 264, 299; stand- ard of taste, 108-9; truth to nature, 263-4; uniformity as criterion, 104-5 Ncsbitt, G. L., 303 Newbcry, John, 349 n.23, 351 n.54 Newman, John Henry, 244, 360 n.85, 386 n.5 Newton, Sir Isaac, 12, 186, 216, 265, 362 n.24, n.26; argument from design, 164; the immanent God, 64, 185, 366 n.2; on poetry, 300; influence on eighteenth- century psychology, 159-67 passim; optical theory, in poetry and criticism, 303-12 passim Newton, Thomas, 376 n.77 Nicolson, Marjorie, 347 n.69, 362 n.31, 379 n.6, 387 n.26 North, Christopher (John Wilson), 60-61, 105, 109, 154-5, 340 n.68 Notopoulos, James A., 356 n.4 Novalis (Fricdrich von Hardenberg), 50, 90, 93. 94. 342 n.36, n.44, 359 n.6o, 370 n.74 Objective theory, definition and survey of, 26-8 Odbert, H. S., 389 n.70 Ogden, H. V. S., 356 n.69 Ogilvie, John, 162, 337 n.17 Olson, Elder, 284-5, 342 n.48, 348 n.6 'On the Application of the Terms Poetry, Science, and Philosophy' (Monthly Repository, 1834), 316-17, 375 n.50, 386 n.5 Ong, Walter J., 361 n.5 Organic aesthetics, principal characteristics of, 218-25; development in eigthcenth century, 186-213, 204-13 passim. 368 n.44; and poem as end in itself, 327; or- ganic laws fs. rules, 222-5 Organic historiography, 218-19 Organic theory, in Carlyle, 216-17; in Coleridge, 124, 168-77; development in Ger- many, 202-13 passim; vs. mechanism, 186; origins of, 184-6 Organic values in art, 220-22 Oriental poetry as primitive poetry, 87 Orientations in criticism, 6-7, 100 Origcn, 374 n.44 Origin of language and poetry, theories of, 78-82; in romantic criticism, loi Ornaments, theory of, 34, 290; and figures of speech, 288; and poetic marvelous, 269 Ossian as primitive poet, 82, 83 Otto, A., 372 n.9 INDEX 401 Overflow as aesthetic metaphor, 35, 47-8, 5H-9. 298 Painting paralleled to poetry, see 'Ut pictura poesis' Panofsky, Erwin, 43, 341 n.20, 342 n.43, 381 n.42 Paracelsus, 216 Paradise Lost, question of hero in, 250-51, 254 Parker, Samuel, 285 Particularity i/s. generality in poetry, 38-41, 316-17 Pater, Walter, on Coleridge as critic, 224; impressionism, 135-6; literature as index to personality, 235, 259; poetic vs. sci- entific truth, 318 Pathetic fallacy, 291-2. See also Personification Patrizzi, 80 Patton, Lewis, 353 n.90 Paul, St., 239-40, 257 Peacock, Thomas I.ovc, 192, 332, 357 n.io; 'Four Ages of Poetry,' 125-6, 331; as Utilitarian, 302-3. Worlds, 356 n.i Pembcrton, Henry, 367 n.i6 Pepper, Stephen C, 31 Personification, as mode of creation, 288-9, 292-3; central concern of romantic poetry and theory, 55-6, 64-8 'Philosophy of Poetry, The,' see Smith, Alex- ander Pindar, 187, 350 n.50 Pinkerton, John, see Heron, Robert Plant, as aesthetic metaphor, 35, 168-75, 187, 189, 199, 202-13 passim; in Coleridge, 68-9; as analogue of poetic invention, 203-4, 215, 217; as metaphor of mind, 68-9, 167 Plastic as aesthetic metaphor, 60, 162, 281-2 Plato, 28, 33, 36, 42, 59, 73, 80, 117, 132, 169, 171, 187, 192, 201, 229, 272, 276, 301, 331-2, 342 n.47, n.48, 372 n.6; wrote no aesthetics as such, 9; concept of imitation, 8-9; inspiration, 189; metaphors of mind, 57; analogue of mirror in, 30, 34; and organic theory, 184-5; restrictions on artist, 34; in Shelley's critical theory, 126-9 Platonic aesthetics, tends to cancel distinctions, 127-8; imitation of ideas in, 42-4; in early nineteenth century, 131-2 Pleasure and instruction as ends of poetry, 14-20 Pliny, 37 Aristotle vs. J. S. INDEX Mill, 402 Plot, theory of, 23-4 Plotinus, 127, 132, 218, 276; basic metaphor of 'emanation,* 58-9, 64; on imitation of Ideas, 42-3 Pluralism, cultural, in organic theory, 219-20 Plutarch, 79 Poe, Edgar Allan, on intense poetic fragment, 136-7; and Longinus, 137, 358 n.42; 'poem per se,' 27; science the enemy of poetry, 308 Poet, place of, in various critical orientations, II, 26, 29; in romantic theory, 95, 99; in Wordsworth's criticism, 107-8; concept of native endowment, 103-4 Poetic illusion, 323-5 Poetry and religion in nineteenth century, 334-5 Pope, Alexander, 17, 32, 114, 176, 198, 233, 268, 274, 290, 329, 358 n.42, 368 n.39, 381 n.42, 382 n.45; antipathy to, in criticism, 133, 137-8; natural genius, 188-9, 196-7; poetic 'graces,' 194; orna- ment, 111-12; The Rape of the Lock. 271; rules, 195; and relativity of rules, 219; 'true wit,' 39-40; in criticism of Joseph Warton, 86-7, 133 Powicke, F. J., 381 n.42 Pragmatic theory of art, 35; definition and survey of, 14-21; in John Dennis, 74-5 Prall, D. W., 3, 5 Priestley, F. E. L., 391 n.121 Priestley, Joseph, 363 n.43 Primaudaye, Pierre de la, 377 n.96 Primitive poetry, theories of, 82-4 Primitivism in critical theory, 104-5; in eight- eenth century, 83-4; Peacock's parody of, 125 Probability in poetry, in Aristotle, 267; as coherence, 271, 278-9, 280, 281, 283-4; as correspondence, 267-8; as what reader will accept, 269-71, See also Truth as a criterion. Proclus, 45 Prometheus, poet as, 280-82 Prosopopoeia, see Personification Psychology of art, Coleridge's organic theory of, 168-75; early history of, 157-8; mechanical vs. organic, 158; influence of Newton's mechanics on, 159-67 passim. See also Imagination, Poetic illusion, Marvelous Psychology of art, in eigtheenth century, 158-67; association of ideas, 162-3; prob- lem of judgment and design, 163-7; memory, fancy, imagination, 161 -3; emphasis on visual images, 160 Pure poetry, 133 Puttenham, George, on elegy as homeopathy, 138; 'phantasy' as mirror, 345 n.49; poet as creator, 273-4; style as orna- ment, 229; and as self-expression, 229-30 Quintilian, 104, i, n.75 157, 166, 348 n.2, 360 Racine, Jean, 97 Radcliffc, Anne, 271 Ransom, John Crowe, 28, 317, 340 n.66 Rapin, Rene, on poetic 'graces,' 194; selective imitation, 37; inspiration, 191; lyric, 85; poetic probability, 270 Raysor, T. M., 115, 356 n.63 Real and Ideal Beauty' {Blue/{wood's Magazine, 1853), 131-2, 385 n.90 Reconciliation of oppositcs, in Coleridge, 118- 20; in modern criticism, 118, 222 Rcid, Thomas, i6r, 363 n.34, n.35 Reifl, P. F., 342 n.44 Religious subjects in poetry, 76 Reynolds, Joshua, 29, 56, 137, 341 n.24, n.27, 359 n.52, 361 n.9, 368 n.39; 'central form,' 38; ideal in art, 45; inspiration, 191; natural genius and rules, 196; particularity and generality in art, 39, 40, 341 n.32. Literary Worlds, 341 n.22 Rhetoric, theory of, in development of expressive theory, 21, 71; conflation with poetic, 28; source of pragmatic theory, 15-16 Richards, I. A., 103, 169, 334, 355 n.58, 364 n.68, 390 n.99, 392 n.133; Coleridge's theory of imagination, 182, 366 n.ioi; chaos of critical theories, 4; emotive lan- guage, 1 5 1-2; pseudo-statements, 323-4; scientific vs. poetic truth, 312, 390 n.90 Richter, Jean Paul Friedrich, 200, 216, 248, 359 n.6o; compared to Carl Jung, 211-12; unconscious in art, 211-12 Ringler, William, 367 n.7 Robb, Nesca, 342 n.43 Robinson, Henry Crabb, 242-3 Robortello, 74 Roebuck, John, 311 Roellinger, F. X., 366 n.ioi Romantic criticism, common doctrines in, 10 1 -3; expressive orientation, 7; exceptions to expressive orientation, 28; emphasis on poetic fragment, 134-7; contrasted to neo-classic criticism, 29, 94, 264, 298; traditional and innovative ele- INDEX 403 -, mcnts in, 70-71; concern with 'unseen t order behind visible things,' 313-14; variety in methods and resources, 100. See also Expressive theory Romantic irony, 239 Romantic poetry, Fr. Schlegcl's definition, 374 n.37; use of symbolism, animism, and myth, 296-7; relation to romantic theory, 97-9 Romantic polysemism, 228-9, 240-41, 251-2, 256, 257-8 Rousseau, J. J., 98, 350 n.39, 352 n.79, 354 H n.25; dramatic imitation, 33; La Nouvelle Helotse, 142; origins of language and poetry, 81-2 Rowe, Nicholas, 382 n.47 Ruffhead, Owen, 362 n.21 Rules, and natural genius, 196; vs. organic laws, 222-5; in pragmatic criticism, 16-18; based on 'science of mind,' 159 Ruskin, John, 229, 291; scientific vs. poetic description, 312; subjective and objective, 242 Russell, Bcrtrand, 382 n.49 Rymcr, Thomas, 157, 194, 368 n.39 Sainte-Bcuve, Charlcs-Augustin, 227, 259 Santayana, George, 3 Sappho, 73, 133 Saumarez, Richard, 170 Saurat, Denis, 256 Savage, D. S., 262 Savage, Richard, 234 Savers, Dorothy L., 379 n.113, 384 n.73 Scaliger, Julius Caesar, 80, 273 Schelling, F. W. J. von, 212, 213, 218, 220, m 342 n.44, 353 n.84, 370 n.69; relation to Y Coleridge, 52, 174, 314; organic theory, 186, 209-10, 370 n.66; thesis-antithcsis- synthcsis, 174 Schiller, J. C. F. von, 205, 217, 219, 242, 243, 244, 246, 249, 262, 293, 355 n.45. 385 n.89, n.96; poetry as expression, 90; naive and sentimental poetry, 238-9; play-impulse, 327; unconscious invention, 2 10- 1 1 Schlcgel, A. W,, 91, 218, 225, 241, 242, 243, 342 n.44, 350 n.40, 352 n.83, 371 n.94, 384 n.67, 386 n.i02, 390 n.91; poetry as expression, 48, 90; music, 93; organic theory in, 212-13; Shakespeare's sonnets, 246; unconscious and deliberate in Shakespeare, 213; poetry as own world, 281-2 Schlegel, Friedrich, 98, 212, 222, 241, 242, 243, 244, 257, 342 n.44, 352 n.83, 353 n.84, 386 n.io6; ancient vs. modern lit- erature, 237-8; parallel of poetry and music, 51; organic history in, 219; ro- mantic poetry, 238; Wilhchn Meister, 208. Prosaische Jugendschrijten, 344 n.22 Schleiermacher, F. E. D., 227, 346 n.6o, 374 n.31 Schneider, Elizabeth, 359 n.58 Schoen-Rene, Otto, 376 n.66 Schuellcr, H. M., 352 n.75 Science, source of new subjects for poetry, 304-5; as complement of poetry, 308-12; as logical opposite of poetry, 10 1, 298-9, 316-17, 386 n.5; as opponent of poetry, 300, 303-8. See also Emotive vs. refer- ential language Science of mind, in eighteenth century, 159 Scott, Sir Walter, 28, 261, 380 n.33, 390 n.91; art as communication, 49; involuntary composition, 214. The Prose Work^s, 343 n.i2 Self-revelation, literature as, in Lowth, 77-8; before romantic period, 225, 228, 232-5; in eighteenth-century Germany, 236-41; in romantic period, 225, 228; and 'style is the man,' 229-35; types of theory, 227-8 Semantics of poetry, in J. S. Mill, 149; in Alexander Smith, 149-53. ^^^ ^^o Emotive vs. descriptive language Seneca, 342 n.41 Seward, Anna, 351 n.56 Shaftesbury, Third Earl of, 204; poet as 'a second Maker,' 200-201, 383 n.62; poet as Prometheus, 280-81; world-soul, 185 Shakespeare, William, 32, 38, 40, 127, 136, 138, 157, 171, 201, 218, 219, 223, 224, 225, 250, 260, 268, 280, 292-3, 295, 296, 312, 313, 324, 341 n.31, 344 n.37, 370 n.74, 375 n.51, n.58, 377 n.93, 383-4 n.67, 389 n.75; Coleridge's evaluation of, 221-2; as 'creator,' 274, 275-6, 382 n.47, n.48; in theories of natural genius, 187-8, 196, 197, 198, 205, 211, 213, 215, 216-17; Johnson's criticism of, 19-20, 71-2, 107; as primitive poet, 83; refutation of primitivism in, 122; as self- rcvealed in sonnets. 246-7, 248; problem of subjectivity or objectivity, 238-9, 240, 243, 244-9, 254. 262-3 Shearer, E. A., 354 n.19 Sheffield, John, 379 n.7 Shelley, Percy Bysshe, 24, 29, 94, 178, 214, 215, 229, 273, 294, 328, 330, 333, 346 n.62, 347 n.77, 354 n.i2, 366 n.88; poet's audience, 26, 326; poetry as ere- 404 INDEX Shelley, Percy Bysshe (Cont.) ation, 282; 'Defence of Poetry,' analyzed, 126-31; and as answer to Peacock, 126-8 passim; expressive elements in, 49, 129- 31; and English empirical philosophy, 126, 129, 332; poetry as reflecting Forms, 56, 313; imagination, 130-31; poetic inspiration, 192-3; metaphors of mind, 61; use of myth, 296; interpretation of Paradise Lost, 252, 254, 256; Platonism, 126-9, 331-2; poet's sensibility, 102; science and poetry, 310; poetry as self-revelation, 252; use of poetry, 331-3; wind-harp as analogue in, 51-2. Literary and Philo- sophical Criticism, 339 n.6i Sidney, Sir Philip, 16, 17, 42, 85, 276, 351 n.55, 356 n.4; on 'another nature,' 273-4; poet 'never lyeth,' 323; pragmatic theory of, 14-15 Simonides, on 'poetry a speaking picture,' 13, 33, 51 Sincerity as criterion, 298, 317-20 Si vis me flere, 71-2 Smith, Adam, 92, 332, 338 n.24 Smith, Alexander, loi, 351 n.59, 354 n.12; identified as author of 'The Philosophy of Poetry,' 149; critical theory analyzed, 149-54; expression, 48; poetry as nonassertional, 322-3; compared to I. A. Richards, 151-2 Smith, G. Gregory, (ed.) Elizabethan Critical Essays, 338 n.27 Smith, Logan Pearsall, 272, 370 n.69, 381 n.41 Smith, N. K., 361 n.6, 362 n.31 Snyder, Alice D., 356 n.62, 365 n.70 Sommer, Robert, 352 n.6i, 369 n.48 Sophocles, 219, 222 Sou they, Robert, 181 Spence, Joseph, 76 Spenser, Edmund, 136, 268, 288, 295, 329; as creative poet, 289; on inspiration, 188; as primitive poet, 83 Sperduti, Alice, 367 n.ii Spontaneity as criterion, 24, 102, 319 Sprat, Thomas, experiments contribute new subjects to poetry, 304, 309; style the image of mind, 231; banishmAt of tropes and figures, 285; 'true world' of science, 266, 275, 334, 379 n.13 Spurgeon, Caroline, 247, 260 Stacl. Mme de, 90-91, 242, 353 n.84 Stallknecht, Newton P., 346 n.57, 347 n.77 Standard of taste, in nco-classic theory, 108-9; in Wordsworth's theory, 109-10 Stauffcr, Donald A., 260-61, 389 n.67 Steele, Sir Richard, 78 Stcevens, George, 246 Stefifens, Henrik, 220 Stephen, Leslie, 333 Sterling, John, 148, 255, 375 n.52 Sterry, Peter, 60, 381 n.42 Stevenson, Charles L., 152, 360 n.97 Stewart, Dugald, 161-2, 181 Stoll, Elmer Edgar, 249 Storm and Stress, 90, 281 Strabo, 79, 229 Style as ornament and incarnation of thought, 290-91 Style is the man, in Buffon, 373 n.13; his- tory of concept, 229-35, 260, 377 n.96 Subjective and objective, in English and American critics, 143-4, 242-4, 375 n.50; in German theory, 236-41; variable applications of terms, 241-4 Sublime, in Longinus, 73; in Lowth, 76; qualities of, 220 Sulzer, J. G., 205, 352 n.8o, 373 n.14, 383 n.62; in development of expressive theory, 88-90; plant as analogue in, 203-4; unconscious invention, 203-4 Swedenborg, Emanuel, 216, 251, 356 n.59, 380 n.20 Swift, Jonathan, 233, 373 n.20 Sympathy as aesthetic concept, 245, 247, 332, 375 n.6i, 391 n.i2i Tasso, Torquato, 266, 268, 273, 279, 381 n.38 Taylor, Jeremy, 1 17 Temple, William, 85, 197, 266, 367 n.8, 381 n.42 Tennyson, Alfred, 25 Tertullian, 374 n.44 Theological ideas transferred to aesthetics, the creation, 273-4, 276; 'grace,' 'felicity,* 'mystery,' 193-5; in Keblc, 147-8; vis- ibly-invisible God, 239-41, 257-8, 261-2 Thomson, James, 40, 233-4, 342 n.34; onNewton's rainbow, 304-5, 306, 307 Thorpe, Clarence D., 224, 361 n.i Tieck, Ludwig, 50, 94, 98, 222, 347 n.67, 352 n.8i, 353 n.84 Tieghem, Paul Van, 351 n.56 Tillyard, E. M. W., 255 Tinker, C. B., 354 n.i8 Trapp, Joseph, 86, 96, 351 n.51, n.54, 385 n.8i Trowbridge, Hoyt, 338 n.36, n.39 Truth as aesthetic criterion, 34; used to con- demn poetry, 299, 300, 302; and figurative language, 285-9; and marvelous, 265-71; in nco-classic theory, 263-4, INDEX 268-71; poetry indcpcntlcnt of, 320-24. 325-6, 334; rational truth ts. fHx;tic truth, 278-9, 284; meanings in romantic criticism, 313-19; and sincerity, 298, 317-20 ptisfim Tucker, Abraham, if^t^ n.43 Tumarkin, Anna. 351 n.6i Twining, Thomas, 14, 270, 271, 351 n.50, 352 n.77, 390 n.92. Aristotle's Treatise on Poetry (ctl.), 338 n.26 Tytler, Alexander Frascr, 361 n.8 Unconscious invention, in German theory, 173-4, 203-4, 205, 209-13; in English romantic criticism, 214-17; in Shelley, 192; in Young, 200 Uniformity as critical criterion, 38, 40, 104-5, 114 Use of poetry, in English romantic theory, 103, 328-33; in Utilitarian theorists, 300- 303, 332. See also art for art's sake. Usher, James, 344 n.34 'Ut pictura pocsis,' 33-4, 50-51, 57, 93, 372 n.8 Utilitarian opposition to poetry, 300-303, 306, 311-12 Van Doren, Mark, 266 \'crkoren, Lucas, 356 n.4 Vcron, Eugene, 103 \'cry, Jones. 247-8, 339 n.63, 375 n.50, n.52 Vico, Giambattista, 92, 389 n.63; o" origins of language and poetry, 79-80 Vida, M. G., 17 \'irgil, 32, 187, 230, 231-2, 267, 288 \'oltaire, 379 n.i \'()SNius, G. J., 96 Wackenroder, W. H., 50, 93-4 Waller, Edmund, 266, 267 Wallerstein, Ruth, 374 n.44 VV'alzel, Oskar, 2H0, 381 n,39, 383 n.64 Warburton, William, 32, 195, 231, 382 n.48 Warren. Austin, 28, 284, 356 n.58 Warton, Joseph. 137, 197; poetic 'creation,' 275; imitation, 337 n.17; particularity and generality in pxjctry, 39, 41, 316; personification as creative, 289, 292; on Pope as poet. 86-7, 133; "pure poetry,' 13^; 'the romantic . . . the wild,' 157-8, 268 Warton, Thomas, 83, 289. 307, 350 n.43; on poetry and new philosophy, 305; personification as creative, 385 n.85 Wasscrmann, E. R., 385 n.86 Webb, Daniel, 368 n.36 405 Wcliek, Rene, 28 350 n.35, n.4:!, 375 n.47. 386 n.109 Weisinger, Herbert, 375 n.47 Wclsted. Charles, 368 n.39 Whitehead, A. N., 169, 181, 265, 364 n.47 Whitney, Lois, 350 n.34, n.39 Wilde, Oscar, 328 Williams, R. C., 380 n.20 Wilson, Dover, 249 Wilson, Edmund, 228 Wimsatt, W. K., Jr., 386 n.ioi Wind-harp, analogue of, 35, 51-2. 61. 346 n.66 Wishful thinking as motive of composition. 140-47 Wither, George, 367 n.12 Wood, Robert, 337 n.17, 377 n.103, 378 n.109 Woodhouse, A. S. P., 381 n.42, 385 n.85 Wordsworth, Dorothy, 113 Wordsworth, William, 23, 28, 29, 64, 78, 84, 100, 126, 129, 143, 144, 145, 146, 148, 170, 176, 179, 257, 264, 306, 313, 321, 324, 328, 332, 335, 344 n.26, n.37, 347 n.77, 353 n.89, n.91, 355 n.43, 359 n.67, n.74, 366 n.88; animation of inanimate, 55, 64-5, 291-2, 293; poet's audience, 26; and Hugh Blair, 95-6; and Cambridge Platonists, 59; theory examined by Coleridge, 116-24 pussi/yi; on creative mind, 65, 384 n.70; and John Dennis, 76: on diction of poetry, 110-12. 290-91; effect of emotions on perception, 53-4, 299; and 'The Enquirer,' 96-7; place in development of expressive theory, 21-2; figures as expression of feel- ing, 102, 112; 'healing power,' 333; on imagination, 314, 366 n.93; contrasted to Coleridge on imagination, 180-82; importance of critical achievement, 112-13; 'Intimations Ode.* 66-7; 'to look steadily at my subject,' 53; metaphors of mind, 58, 60-61, 62, 63, 65-7; on meter, 116-17; influence on J. S. Mill's criticism, 24: on Greek rriythology, 293-5; rnythopeia, 296: on origin of poetry, 101; 'the spontaneous overflow of feeling,' 47-8, 97, 132, 298; Peacock's parody of his criticism, 125-6; poet's endowment, 102; poetry treats things as they appear, 53-4. 299. 303, 315; poetry and belief, 325: Prelude, 58; elements of cultural primitivism in, 105-6, 113; purpose of poetry, '"3» 329-30; poetry contradistinguished from science, 299, 318; relations of sci- ence and poetry, 309-10, 330; poetry self-centered, 98-9; on Shakesp>eare's son- 406 INDEX Wordsworth, William (Cent.) Young, Edward, 203, 205, 222, 230, 236, nets, 246; sincerity as poetic criterion, 347 n.69; poetry as creation, 381-2 n.45; 318; on spontaneity, 102, 105, 107, iii, influence of Conjectures in Germany, 113, 214-15; traditional elements in 201-3; the mind as projective, 62-3; criticism of, 103-4; poetic 'truth,' 56, natural genius, 198-200; novelty vs. uni- 388 n.50; uniform 'nature' as criterion formity, 41; ode, 86; originality and in, 104-14 passim; 'Upon Epitaphs,' iii. imitation, 12, 114. Conjectures on Orig- Wordsworth's Literary Criticism, 339 inal Composition, 337 n.17 n.59 World-soul, in early philosophy, 184-5; i^ Zeuxis, 37 eighteenth century, 64, 185 Zuccari, Federico, 381 n.42

See also

• Heterocosm
• Illumination
• Romantic literature
• Speculum literature