Delicacy, not inconsistent with virility
and strength, 369.

Delphic Days, Snider's, 198, 454.
Democracy, "of the future," Whit-
man's, 56; Whitman on, 383; poets
of, 385.

"Democratic Vistas," Whitman's, 363,
389.

De Musset, 146, 155, 227.
De Quincey, Thomas, 53.
Derby, Edward, Lord, on hexameter,
196; and see 84, 91.
Derivatives, faulty use of, 212.
Descriptive Poetry, effect of our land-
scape upon our poets, 14, 28, 45-47;
not found in primitive races, 45, 46;
antique, 46; secondary to the emo-
tional and dramatic, 46; of Bryant
and his followers, 47, 68, 73, 80;
Whitman's, 60, 379, 380; Whittier's,
115-120; penetrative subtlety of
Emerson's, 151, 152; Longfellow's
artificiality, 216, but a true poet
of the sea, 217; freshness and spon-
taneity of Lowell's, 317-319, 341;
and see 47, 173, 443.
De Senectute, 83.

-

of early English poets, 76; of Pope,
Cowper, etc., 76; of Tennyson and
Swinburne, 76, 77; chiefly formed in
youth, 76; Saxon and Latin, 85, —
use of by Bryant, 85, 86; Emerson's
choice of words, 152; Longfellow's
later, 213; Lowell's peculiarities,
315; Whitman's original, 378,
his faulty verbiage, ib.
Didacticism, our early verse-makers,
15; of the Lake School, 51; con-
flict with, by Poe, etc., 56, 249, 263;
not in Emerson's verse, 150; defini-
tion of, and why it repels us, 150;
and see 450.

Dietz, Ella, see Clymer, E. D.
Dilettanteism, 27.

Dinsmore, Robert (1757-1836), 116.
Disciples, Emerson's, 158; Whit

117.

102; home-life depicted by the East

50.

Doudan, X., on poverty, 268; and see

347.

Dowden, Edward, on Emerson, 178;
on Lowell, 305; and see 360.
Drake, Joseph Rodman, influence on
Halleck, 40; and see 39, 75, 280.
Drama and Dramatists, Godfrey's work,
33; Tyler and Dunlap, 36; Gris-
wold on, 57; plays of Bird, Conrad,
Longfellow, Willis, Sargent, Math-
ews, and Boker, 57; merits and de-
fects of Longfellow's dramatic poe-
try, 204-207; rarity of the dramatic
gift, 204; Taylor's dramas, 428-432;
poetry's highest form, 428; requi-
sites for success in, 429; Fawcett,
441; dramas by Leighton, Young,
etc., 454; a symptom of national
maturity, 466; present need and
prospects of, 466–469; stage-plays,
past and present, 466–468; question
of text, action, and accessories, 467;
audience and playwright, 468;
town-life favorable to the dramatic
poet, 468; recent dramatists, 469.
Dramatic Quality, absent in our earlier
periods, 66; Emerson's lack of,
156, 157; Lowell's, 341; needed for
a revival of interest in poetry, 466.
Drayton, Michael, 192.
"Drum-Taps," Whitman's, 362.
Dryden, 89, 331, 335.

Duffield, Samuel Willoughby (1843- ),
55, 443.

Dulness, Holmes on, 292.

ell's convictions, 312-314.

'Earthly Paradise, The," Morris's,
209.

Eastman, Charles Gamage, 49.
Eccentricity, a weakness of transcen-
dental poetry, 167-169.
Echo Club, The, Taylor's, 422.
Eclogues, 115.

Edwards, Jonathan, 34, 130, 296.
Egan, Maurice Francis, 444.
Eggleston, Edward, 463.
Egoism, of the minor transcendental-
ists, 147; dangers of, 271; Whit-
man's, 390.
Eighteenth-Century Style, Bryant's,
70, 71; Holmes's a survival, not a
renaissance, 275, 276; modern à-la-
mode verse, 275; knee-buckle verse,
281; Dr. Coles, 300.

Elegiac Poetry, “The North Shore
Watch," 461.

"Elegy on a Shell," Dr. Mitchill's, 286.
Elemental quality, characteristic of
Bryant's verse, 81.

Elizabethan Period, and poets, influ-
ence of, 56, 469; the lyrists, 374;
and see 76, 188.

Ellsworth, Erastus Wolcott, 52.
Elsie Venner, Holmes's, 294.
Embargo, The, Bryant's, 72.
Emerson, Ralph Waldo, his landscape,
47; master of the Concord group,
52; eulogy of Bryant, 66; review
of his life, philosophy, and works,
133-179; his indecision between the
methods of philosophy and art, 133,

134; ideal prose and verse, 134; his
natural disciples, 134; felicity of
touch, 135; a single purpose, 135;
essentially a poet, 136; office, 137;
tributes to his genius, 137; order of
intellect, 137; birth, ancestry, train-
ing, 138; early Unitarianism, 138;
retirement from the Church, 138;
after-life and career, 139; pupils
and associates, 139; Nature, 140;
personal traits and bearing, 140;
death, 141; his philosophy analyzed,
141-147; optimism, 141; freedom
from dogma, 142; an idealist and
eclectic, 142; morals, 142; sense of
real life, 142, 143; Plato his early
guide, 143; his likeness to Plotinus,
144; innate wisdom, 145; transcen-
dental method, 146; influence on pu-
pils, 147; a liberator, 147; considered
as a poet, 148-171; Poems, 1847, -
May-Day-Poems, 1876, 148; view
of art, 148, 149; "Brahma" and the
universal Soul, 149; as a lyric poet,
150; Margaret Fuller's criticism on,
150, 160; not "didactic," 150; on
Nature's hidden trail, 151; "Wood-
notes," "Forerunners," 151, 152;
"The Problem," "May-Day," 152;
genius for diction and epithet, 152,
153; scientific intuition and pre-
science, 153-155; "The Sphinx,"
153; a seer of evolution, 154; view
of Science and Art, 155; his lim-
itations, of range, passion, action,
155-157; love-poetry, 157; patriotic
verse, 157; a layer on of hands,
158; E. and Rossetti, 158; metrical
style, 158-161; best understood by
Americans, 159; his melody, 159;
deficient sense of proportion and
construction, 159; a nonconformist,
160; unique lyrics, 160; gift for
"saying things," 161; famous pas-

sages in his poems, 161-163; rhyth-
mical compression, 163; lyrical
freedom, 164, 165; imaginative ex-

66

pression, ib.; "Threnody" and
"Merlin," 165; Emerson and Whit-
man, 166; his favorite poets and
measures, 166; Orientalism, 167;
blank-verse, ib.; changes observable
in his style, 167-169; early blem-
ishes, ib.; his own best censor, 169-
171; his artistic canons, 170; prose-
writings, 171-176; mutual likeness of
his prose and verse, 171; his essays
compared with those of Bacon, Car-
lyle, Landor, Montaigne, etc., 171,
172; prose-style, 172-174; apo-
thegms, 172; idiomatic English,
173; rhythm and imagery of his
prose, 173, 174; secular essays, on
the Conduct of Life, etc., 175; Par-
nassus, 175; summary of his traits,
176-179; compared with Longfel-
low, 177, 178; his conception of the
future bard, 179; Holmes's por-
traiture of, 296; Arnold on, 297;
view of Whitman, 349, 359; influ-
ence on Whitman, 355, -
on the
new choir, 443; and see 12, 44, 98,
106, 110, 116, 118, 129, 130, 180,
216, 220, 223, 263, 279, 300, 304,
336, 342, 350, 351, 363, 380, 389,
390, 424, 436, 444, 457.
Emersonian School, 145–147, 168, 169.
England, Taine on, 48.
English, Thomas Dunn, 41.
English heroic verse, Holmes's mas-
tery of, 288-290, his opinion of,
289; as written by Chaucer, Hunt,
Keats, Pope, and others, 289.
English Language, the, Bryant's use
of, 84; consonantal quality, 91;
Emerson's mastery of, 173; Lowell's
English, 330, 331; beauty, strength,
and copiousness, 475; and see 411.

-

-

Fields, James Thomas, 59.
Filicaja, a sonnet by, 214.

Finch, Francis Miles (1827- ), 49.
Fireside Travels, Lowell's, 327, 329.
First Books, 291.

FitzGerald, Edward, 184.

French quality and influence, 440, 441 ;
Poe affected by, 261.
Freneau, Philip, 35, 36.
Frere, John Hookham, 277, 443.
"Frontenac," Parkman's, 97.
Frothingham, Ellen (1835- ), 55-

35.

(1793-1870), 50.

New World, 21.

-

-ra-

Foote, Mary Hallock, 463.
Force, conservation of, 153.
Ford, translator of Dante, 210, 212.
Foreign Opinion, how far insincere, 8;
Dowden on Lowell, etc., 305; our
debt to foreign critics, 473.
Form, value of, in translation, 90; fa-
vorite measures of Emerson, 167;
poetic forms, Whitman's outcry
against those familiar, 372, —
tionale of the latter, 373, -depen-
dent on time, accent, rhythm, etc.,
and based in nature, 372,-Goe-
the on, 373,- Milton on rhyme,
374,-blank-verse, 374,- question
of their endurance, 377,- genius
master of all forms, 377; Poe's use
of simple ballad-forms, 251; all
forms included in the dramatic, 428;
and see French Forms.
Formalism, excessive in Whitman, 377,
386.

quoted, 101.

Fuller, Sarah Margaret, on Emerson,
150, 160, 164; her "Tribune" crit-
icisms, 256; and see 52, 139, 175.
"Future, Poetry of the," cannot now
be produced upon a theory, 375.
Future of American Poetry, the, 61, 476.

GALLAGHer, William Davis, 49.
Garrison, William Lloyd, fellowship
with Whittier, etc., 103-106; Whit-
tier's poem on, 122; and see 130.
Gautier, 441.

Gay, 342.

Genius, its exceptional quality, 3; la-
tent, 15; need of excitants, 15; san-
ity of Bryant's, 64; aided by cul-
ture, 109, 306; Emerson on, 145;
influence of Nature on, 156; more
than a talent for work, 187; tests
of, 191; interest aroused by, 226;
priceless rarity of, 269; is it a neu-
rotic disorder, 270; quality of
Holmes's, 302; its self-culture, 307;
Lowell's many-sided and original,
347; is consistent, 368; adapts it-
self to all languages and forms, 377;
paradoxical, 392, 393; and see 433,
438.

Genre, lyrics and idyls, Longfellow's,
216; Whitman's work, 380.

George Eliot." See Cross.

Georgian Period, 194, 275, 276.

German influence, on Longfellow, 187.

on Taylor, 422.