dactyl, 156; dactylic tetrameter,
158

Daily Bread (Gibson), 66
Dante, 12, 22, 163, 372; quoted, 82
Daudet, 372

David Copperfield (Dickens), 1,
63, 212, 218, 227, 230, 233,
235

De Arte Poetica, 17, 25.
De Foe, Daniel, 36, 40, 41
De Quincey, Thomas, 53, 55, 56,
353; quoted, 362

Dear Brutus (Barrie), 288, 325
Decline and Fall of the Roman Em-
pire, The (Gibbon), 43
Demosthenes, 371
denotation, 106-110
dénouement, 292, 293, 301
Descent into the Maelstrom, A
(Poe), 242

description to reveal character,
238; to indicate scene in Shake-
speare, 283

descriptive poetry, 29, 39, 40, 41,
42, 45, 55

Deserted Village, The (Goldsmith),

41

Destruction of Sennacherib, The
(Byron), quoted, 120
diagram of the Shakespearean
play, 293

dialogue in fiction: to reveal char-
acter, 239; truth of, 250; in The
Scarlet Letter, 250; in Ivanhoe,
250; in The House of the Seven
Gables, 250; in Jane Eyre, 251
dialogue in the drama, 294, 320,

325; in Shakespeare, 251, 321;
realistic, 324; in Ibsen, 324
diaries, 372

Dickens, Charles, 1, 63, 65, 69, 208,
209, 212, 231, 235, 236, 243, 248;
quoted, 230, 231

Dickinson, Emily, 153; quoted, 149
Disraeli, 287

Disraeli, Benjamin, 64, 65
Dissertation
(Lamb), 53
Divine Comedy, The (Dante), 13,
22, 38

on Roast Pig, A

Doll's House, A (Ibsen), 288, 302,
331, 332

Dolly Dialogues, The (Hope), 223
Don Juan (Byron), 52, 163
Don Quixote, 21

Donne, John, 26, 33
Dorothy Vernon of Haddon Hall, 279
Dover Beach (Arnold), 59, 158, 167;
quoted, 141, 144

drama, 16, 19, 23, 25, 30, 31, 37,
45, 46, 54, 56, 70, 71, 72; lyrical,
55, 56; dramatic monologue, 60;
dramatic poetry, 12, 14; problem
plays, 70, 71; plays of social crit-
icism, 70, 71; plays of character
analysis, 70, 71; fantasies, 70,
71; closet drama, 287
drama, nature of, 269; difficult to
read, 269; difficult to write, 273;
kinds of, 284; as literature, 329;
value of, 330-332; exercises in,
334

dramatic contrast, 303; emphasis,
303, 324; gesture, 272
dramatic moments in the novel,
228; in the drama, 299
Dream Children (Lamb), 53
Drinkwater, John, 270, 277, 287,
328

Dryden, John, 35, 37, 39, 40, 41,
161; age of, 35

Dulcy, 270, 309, 330, 331
Dumas, Alexander, 237, 279
Dunciad, The (Pope), 40
Dunsany, Lord, 289

Eclogues (Virgil), 17
Edward, 23

Egoist, The (Meredith), 68
elegy, the, 28, 33, 55, 58, 64, 72;
elegiac poetry, 42, 50, 58
Elegy Written in a Country Church-
yard, 42

209,

Eliot, George, 63, 64, 207,
212, 217, 228, 234, 236, 238, 241,
242, 253
Elizabethan age, 35
Emerson, Ralph Waldo, 352, 354,
356

Eminent Victorians (Strachey), 367
Emperor Jones, The (O'Neil), 273,
277, 309, 331
Enchanted Cottage, The, 288
Encyclopedia Britannica, 354
ending of a story, 228; of a play,
312

English Bards and Scotch Re-
viewers (Byron), 52
Enoch Arden (Tennyson), 60
Enter Madame, 309

entrances and exits, 310, 311
epic, 12, 13, 18, 20, 38, 40, 42, 44,
72; mock epic, 38, 40; reflective
epic, 53, 55
epigram, 123

episode in narration, 222, 223
Epithalamion (Spenser), 28
Ervine, St. John, 288
Essais of Montaigne, 30, 348, 350
essay, the, 30, 33, 36, 37, 40, 43, 45,
53, 55, 61, 66, 71, 72; history of
348; influence of Montaigne on,
350; personal note in, 350, 351;
subject matter of, 350; nature
of, 353; freedom of, 356; as a
reflection of its age, 359; in the
17th century, 359; in the 18th
century, 360; in the 19th cen-
tury, 361; in the 20th century,
362; exercises in, 363; versified,
39, 40

Essay of Dramatic Poesy (Dryden)
36, 41

Essay on Burns (Macaulay), 61
Essay on Criticism (Pope), 40
Essays of Bacon, 30, 33
Essays of Elia (Lamb), 53, 350
essential setting, 244
Euripides, 14, 15, 19, 329

fabliau, 22, 23, 25
Faerie Queene, The, 29, 33, 162
Fairbanks, Douglas, 279
Fall of the House of Usher, The
(Poe), quoted, 213, 244

falling action, the, 293, 300, 301; of
Macbeth, 300; of Hamlet, Julius
Casar, As You Like It, Othello,
301

Familiar Studies of Men and Books
(Stevenson), 67

fantastic comedy, 288
fantasy, 70, 71
farce, 25, 32, 45, 285
Far from the Madding Crowd
(Hardy), 68

fiction, 71; chapter on, 206; see
under prose fiction
Fielding, Henry, 44, 46
Fighting American, The, 286
figures of speech, 110–123
Fires (Gibson), 66
First Year, The, 330
Fitch, Clyde, 270, 272, 275, 294,
328

Fletcher, John Gould, 73
Flower in the crannied wall (Ten-

nyson), quoted, 147

Flower of Old Japan (Noyes), 66
foot in poetry, 155-159
foreshadowing in the novel, 226;
in the drama, 305

Forest of Wild Thyme, The (Noyes),
66

Forms in literature, summaries;

Greece and Rome, 18; in Eng-
lish literature before 1550, 24;
1550-1660, 33; 1660-1740, 40;
1740-1798, 45; 1798-1832, 55;
1832-1880, 64; 1880-1914, 71
Fortune, 23

Fra Lippo Lippi (Browning), 60
Fraternity (Galsworthy), 69
"Free verse," 73, 158, 159, 165–167
French Revolution (Carlyle), 62
Frogs, The (Aristophanes), 330
Frost at Midnight (Coleridge), 49
Frost, Robert, 73, 115; quoted, 74
Frost To-night (Thomas), quoted,
146

Galsworthy, John, 69, 70, 71, 271,
288, 289, 302, 330, 332

Garden, Mary, 275
Garrick, David, 45

Hamlet, 3, 32, 34, 104, 109, 275,
277, 278, 283, 385, 290, 291, 292,
295, 297, 310, 312, 327, 330;
331, 361; falling action of, 301;
ending of, 302; characterization
in, 308; dialogue of, 323; quoted,
119, 275, 314, 323, 333
Hampden, Walter, 225
Hard Times (Dickens), 63
Hardy, Thomas, 68, 209, 243
Harte, Bret, 207

Hauptmann, Gerhart, 289, 291
Have you seen but a bright lily (Jon-
son), quoted, 108

Hawthorne, Nathaniel, 82, 208,

209, 219, 241, 253; see also under
The House of the Seven Gables
Hazlitt, William, 53, 55, 353, 362;
quoted, 361

Hearts of the World, 286

(Lindsay), 132
Georgics (Virgil), 17

Gerould, Katharine Fullerton, 363
Gibbon, Edward, 43, 46
Gibson, W. W., 66, 71
Gift of the Magi, The, 218
Gilliflower of Gold, The (Morris),
142

Godwin, William, 44, 46
Goethe, 372

Goldsmith, Oliver, 41, 45, 46
Gorboduc or Ferrex and Porrex, 34
Gossip on Romance (Stevenson),
quoted, 246

Gray, Thomas, 28, 42, 45, 47
Great Divide, The (Moody), 325
Great Expectations (Dickens), 63,
230

Greek Anthology, The 15, 19
Greek poetry, 158; definition of, 11
Gregory, Lady, 289
Guedalla, Philip, 367
Guitry, Sacha, 287

Gulliver's Travels (Swift), 36, 41
Guy Mannering (Scott), 54

Hakluyt's Voyages, 33
Half Hours (Barrie), 270
Hame, Hame, Hame (Cunning-
ham), quoted, 93

Henley, William E., quoted, 93
Henry IV (Shakespeare), 287;
quoted, 314, 315

Henry V (Shakespeare), 32, 34, 287
Henry Esmond (Thackeray), 63,

218, 231, 241, 243, 246
Her Words (Branch), quoted, 83
Heretics (Chesterton), 67
Hero and Leander (Marlowe) 33
Herodotus, 19

heroic couplet, 39, 40, 161
heroic play, 37, 41
Herrick, Robert, 26, 33
Hervé Riel (Browning), 60
Heywood, Thomas, 32, 34
High Tide on the Coast on Lincoln-
shire, quoted, 109, 121; also in
exercises

Highwayman, The (Noyes), quoted,
125

Hind and the Panther, The (Dry-
den), 40

history, 19, 33, 34, 54, 62, 64, 362,
369; difficulties of writing, 370;
Greek definition of, 11; history
plays, 32, 33, 34; historical
novels, 54

History of England (Macaulay),
62

Hood, Thomas, quoted, 154

Hope, Anthony, 223
Horace, 17, 18, 19, 25, 26, 31
House of Fame (Chaucer), 23
House of Life (Rosetti), 57
House of the Seven Gables, The, 209,
210, 219, 224, 225, 226, 227, 235,
237, 239, 244, 246, 247, 248, 253,
254; quoted, 82, 83, 231, 245,
251; poetic language in, 82
How They Brought the Good News
(Browning), quoted, 132
Howard, Henry, Earl of Surrey, 27
Howells, William Dean, 211, 219
Huckleberry Finn (Mark Twain),
208, 218

humor, created by subordinate
characters, 230
Hunchback of Notre Dame, The,
211;
in moving pictures, 279
Hunt, Leigh, 153, 362
Hunter, Glenn, 275

Huxley, Thomas Henry, 62, 64, 362
hyperbole, 121
Hyperion (Keats), 160

I Have a Rendezvous with Death
(Seeger), 77

I Wandered Lonely as a Cloud
(Wordsworth), 49
iambic pentameter, 157, 160, 161,
162, 164; tetrameter, 161, 162;
trimeter, 161
iambus, 155

Ibsen, Henrik, 70, 288, 302, 311,

332; dialogue of, 324
Iceland Fisherman, An, 244
Idea of a University (Newman), 62
idyls, 15, 17

Idylls of the King, 60, 95, 99,
113, 117, 142, 147, 153, 160;
The Coming of Arthur, quoted,
95; Gareth and Lynette, 117;
quoted, 96, 114, 130, 142; Lance-
lot and Elaine, quoted, 96, 114;
The Holy Grail, 117; quoted, 96;
The Last Tournament, quoted, 97,
120; Guinevere, 122; quoted, 97,
103, 142; Geraint and Enid,
quoted, 114; The Passing of
Arthur, 160, quoted, 98, 103;
as allegory, 117

Iliad, the, 12

Il Penseroso, 29, 33, 38
imagery, 106

images in poetry, 143–147
Imagists, the, 145
Importance of Being Earnest, The
(Wilde), 285

In a Balcony (Browning), 287
In Memoriam, 58; quoted, 162;
stanza, 162

incident in the novel, 223; to re-
veal character, 239
inciting force, the, 291, 293
Irene (Johnson), 46
irony, 122

Irving, Washington, 350, 353, 354,
356, 358; quoted, 355

Isabella (Keats), 51; quoted, 163
Ivanhoe, 54, 207, 209, 215, 216, 220,
221, 224, 227, 228, 229, 236, 244,
247; quoted, 251

James, William, quoted, 10
Jane Eyre (Brontë), 208, 210, 218,

225, 227, 228, 243; quoted, 252
Joan of Arc (De Quincey), 353
Joan of Arc, 362

Jock of Hazeldean (Scott), 49
Johnson, Samuel, 41, 43, 46
Jonson, Ben, 26, 32, 33, 34, quoted,
108, 148

Julius Cæsar, 122, 277, 283, 285,
290, 291, 292, 295, 298, 305, 308,
309, 312, 327, 331, 332; quoted,
271, 272, 309; rising action of,
299; falling action of, 301; con-
trast in, 303; foreshadowing in,
305; obligatory scenes, 306; en-
trances and exits, 310; character-
ization in, 311; motivation, 320;
dialogue, 321, 323, 324, 325;
setting, 325, 328; artistic econ-
omy of, 329

Justice (Galsworthy), 70, 332

Kaufman and Connelly's Dulcy,
270, 330

Keats, 4, 48, 50, 51, 52, 55, 57, 66,
78, 89, 90, 91, 92, 109, 137, 160,
161, 162; quoted, 4, 5, 48, 52, 78,
89, 90, 99, 109, 110, 135, 150, 163

Knight's Tale, The (Chaucer), 23
Kiss for Cinderella, A (Barrie), 288,
298

Kubla Khan (Coleridge), 52

Lady of the Lake, The (Scott), 1, 51
L'Allegro, 29, 33, 38
Lamb, Charles, 53, 55, 350, 351,
356, 358; quoted 351, 357
Lament, A (Shelley), 49
Landor, Walter Savage, 50, 55
Lang, Andrew, quoted, 138, 349
Langland, William, 22
Larrimore, Francine, 275
Last Class, The, 217
Last Days of Pompeii
Lytton), 63, 237
Lazarillo de Tormes, 36
Leacock, Stephen, 363
Legend of Leonora, The (Barrie) 288
Legend of Sleepy Hollow, The (Irv-
ing), 218
Letters, 372

(Bulwer-

Life Lesson, A (Riley), 88
Life of Johnson (Boswell), 43
Life of Nelson (Southey), 54, 56
Life of Samuel Johnson (Macaulay),

61

Light That Failed, The (Kipling),
218, 236

Liliom (Molnar), 277, 288
Lincoln, Joseph C., 245
Lincoln, the Man of the People
(Markham), quoted, 145
Lindsay, Vachel, 73, 132

local color, 231
localized setting, 243
London (Johnson), 41
Longfellow, Henry Wadsworth,
155, 162; quoted, 93, 154
Lord Jim (Conrad), 69
Lord, Pauline, 275
Lord Randall, 23

Lorna Doone, 209, 210, 218, 225,
228, 231, 233, 235, 237, 244;
in moving pictures, 279
Loti, Pierre, 244

Love Among the Ruins (Browning),

59

Lowell, Amy, 73, 115, 165, 167;
quoted, 74

Lowell, James Russell, quoted, 78,
111, 143

Loyalties (Galsworthy), 330
Luck, 218

Lucy, poems (Wordsworth), 105;
quoted, 105
Lycidas, 28

lyric, lyrical poetry, 12, 13, 18, 24,
26, 27, 28, 48, 49, 50, 53, 55, 57,
58, 60, 64, 65, 66, 71, 72; reflect-
ive lyric, 55, 58; lyrical drama, 55
Lyrical Ballads (Wordsworth and
Coleridge), 46

Mackaye, Percy, 288

Macaulay, Thomas Babington,
61, 62, 64, 354

Macbeth, 1, 2, 32, 34, 278, 283, 285,
291, 292, 295, 297, 305, 308, 309,
312, 327, 328, 332; falling action
of, 301; ending of, 302; use of
contrast, 303, 304; character
development in, 319; setting,
326; quoted, 131, 271, 282, 303
Madonna of the Evening Flowers
(Amy Lowell), quoted, 74