Artist, partakes of divine nature of creator of the world, 2; Napoleon as an, 10-12; the true scientist as, 72, 73, 112; the philosopher as, 72, 73, 85; explanation of, 108-12; Bacon’s definition of, Man added to Nature, 153; makes all things new, 153; in words, passes between the plane of new vision and the plane of new creation, 170, 178; life always a discipline for, 277; lays up his treasure in Heaven, 307; Man as, 310; is a maker, 312; Aristotle’s use of the term, 313; reveals Nature, 320; has to effect a necessary Bovarism, 348, 349.
Artistic creation, the process of its birth, 108, 109.
Arts, sometimes classic and sometimes decadent, 8 _n._; and sciences, 68-70; Master of, 69.
“As if,” germs of doctrine of, in Kant, 87; world of, and Plato’s “Ideas,” 88; source of the phrase, 88, 89; seen in play, 89; the doctrine of, not immune from criticism, 102; fortifying influence of the doctrine, 102, 103. _See_ Fiction, Vaihinger.
Asceticism, has nothing to do with normal religion, 222, 223; among the Greeks, traced, 249 _n._; and Christianity, 249 _n._ Asclepios, the cult of, 197 _n._ Atavism, in handwriting, 157, 158; in style, 158-61, 190.
Athenæus, 55, 353 _n._; his book about the Greeks, 76 _n._ Atom, a fiction or an hypothesis, 97, 338; the structure of, 97 _n._ Attraction, force of, a fiction, 98.
Aurelius, Marcus, regarded art of life as like the dancer’s art, 66; his statement of the mystical core of religion, 207; adopted æsthetic criterion of moral action, 279.
Australians, religious dances among, 40.
Axioms, akin to fiction, 94, 95.
Babies, 105.
Bach, Sebastian, 62, 311.
Bacon, Francis, his definition of the artist, Man added to Nature, 153; his style compared with that of Shakespeare, 160; the music of his style, 163; heavy and formal letters of, 184; his axiom, the right question is half the knowledge, 325.
Bacon, Roger, on the sciences, 68.
Balguy, Rev. John, 274.
Ballad, a dance as well as song, 62.
Ballet, the, chief form of Romantic dancing, 53; the germ of, to be found in ancient Rome, 56; origin of the modern, 56; the Italian and the French, 56-58; decline of, 58; the Russian, 58-60; the Swedish, 60.
Bantu, the question of the, 38, 45.
Baptism, 242.
“Barbarians,” the classic use of the term, 285.
Baretti, G. M., 50.
Baudelaire, Charles, on vulgar locutions, 151.
Baumgarten, A. G., the commonly accepted founder of æsthetics, 326.
Bayaderes, 52.
Bayle, G. L., 261.
“Beautiful,” the, among Greeks and Romans, 247, 252.
Beauty, developed by dancing, 47; as an element of literary style, 176-78; and the good, among the Greeks, 247; Plotinus’s doctrine of, 250, 251; of virtue, 270 _n._; æsthetic contemplation creates, 315, 327, 328; and prettiness, 315 _n._; revelation of, sometimes comes as by a process of “conversion,” 328, 329.
Bee, the, an artist, 312.
Beethoven, 311; his Seventh Symphony, 62, 63.
Beggary in China, 31.
Bentham, Jeremy, adopted a fiction for his system, 99.
Berenson, Bernhard, critic of art, 114; his attitude toward Leonardo da Vinci, 114, 117.
Bergson, Henri Louis, pyrotechnical allusions frequent in, 23; regards philosophy as an art, 83, 84; on clarity in style, 176, 177; his idea of intuition, 232 _n._; on reality, 320.
Berkeley, George, 95.
Bernard, Claude, personality in his _Leçons de Physiologie Expérimentales_, 144.
Bible, the, the source of its long life, 179. _See_ Old Testament, Revelation.
Birds, dancing of, 36 _n._, 45; the attitude of the poet toward, 168.
Blackguard, the, 244, 245.
Blake, William, on the Dance of Life, 66; on the golden rule of life, 281.
Blasco Ibañez, 171.
Blood, Harvey’s conception of circulation of, nearly anticipated by Leonardo da Vinci, 120.
Boisguillebert, Pierre Le Pesant, sieur de, his “barometer of prosperity,” 287.
Botany, studied by Leonardo da Vinci, 119.
Botticelli, Sandro, 56.
Bovarism, explanation of, 335; applied to the Universe, 337; a necessary, effected by the artist, 348, 349.
Brantôme, Pierre de B., his style, 161.
Braun, Otto, 357.
Breton, Jules, 311.
Bridges, Robert, 272.
Browne, Sir Thomas, his style, 161, 175, 176, 178.
Browning, Robert, 113; too clumsy to influence others, 184.
Brunetière, Ferdinand, a narrow-minded pedagogue, 125.
Bruno, Giordano, 207.
Bruno, Leonardo, 207.
Bryce, James, on democracies, 300.
Bücher, Karl, on work and dance, 61, 62.
Buckle, H. T., 99.
Buddhist monks, 224 _n._ Building, and dancing, the two primary arts, 36; birds’ nests, the chief early form of, 36 _n._ Bunyan, John, 79.
Burton, Robert, as regards his quotations, 152.
Cabanel, 315 _n._ Cadiz, the dancing-school of Spain, 54.
Camargo, innovations of, in the ballet, 57.
Carlyle, Thomas, revelation of family history in his style, 158, 159; compared to Aristophanes, 159 _n._; too clumsy to ninfluence others, 184.
Carpenter, the, sacred position of, in some countries, 2.
Carr-Saunders, A. M., on the social ladder and the successful climbers, 299, 300; on selecting the best stock of humanity, 354.
Cassirer, Ernest, on Goethe, 137 _n._ Castanets, 54.
Categories, are fictions, 94.
Cathedrals, dancing in, 44, 45.
Ceremony, Chinese, 22, 29; and music, Chinese life regulated by, 24-26.
Chanties, of sailors, 61, 62.
Cheetham, Samuel, on the Pagan Mysteries, 241 _n._ Chemistry, analogy of, to life, 33-35.
Chess, the Chinese game of, 23.
_Chiaroscuro_, method of, devised by Leonardo da Vinci, 117.
Chidley, Australian philosopher, 79-82.
China, finest thinkers of, perceived significance in life of conception of art, 3; art animates the whole of life in, 27, 28; beggary in, 31.
Chinese, the, the accounts of, 18-21; their poetry, 21, 22, 29, 32; their etiquette of politeness, 22; the quality of play in their character, 22-24; their life regulated by music and ceremony, 24-26, 29; their civilisation shows that life is art, 27, 28, 30; the æsthetic supremacy of, 28-30; endurance of their civilisation, 28, 30; their philosophic calm, 29 _n._; decline in civilisation of, in last thousand years, 30; their pottery, 32, 33; embodiment of their symbol of the art of living, 33.
Chinese life, the art of balancing æsthetic temperament and guarding against its excesses, 29.
_Choir_, the word, 42.
Christian Church, supposed to have been originally a theatre, 42.
Christian ritual, the earliest known, a sacred dance, 42.
Christian worship, dancing in, 42-45; central function of, a sacred drama, 43.
Christianity, Lifuan art of living undermined by arrival of, 18; dancing in, 40-45; the ideas of, as dogmas, hypotheses, and fictions, 99; and the Pagan Mysteries, 242; and asceticism, 249 _n._; the Hebrew mode of feeling grafted into, 276.
Chrysostom, on dancing at the Eucharist, 43.
Church, and religion, not the same, 228 _n._ Church Congress, at Sheffield in 1922, ideas of conversion expressed at, 220 _n._ Churches, 351.
Cicero, 73, 252.
Cinema, educational value of, 138.
Cistercian monks, 43.
Cistercians, the, 347.
Civilisation, develops with conscious adhesion to formal order, 172; standards for measurement of, 285; Niceforo’s measurement of, 286; on meaning of, 287; the word, 288; the art of, includes three kinds of facts, 289; criminality as a measure of, 290, 291; creative genius and general instruction in connection with, 291-93; birth-rate as test of, 294; consumption of luxuries as test of, 294, 295; suicide rate as test of, 295; tests of, applied to France by Niceforo, 295-97; not an exclusive mass of benefits, but a mass of values, 297; becoming more complex, 298; small minority at the top of, 298; guidance of, assigned to lower stratum, 298, 299; art of eugenics necessary to save, 299, 300; of quantity and of quality, 300; not to be precisely measured, 301; the more rapidly it progresses, the sooner it dies, 301; an art, 301, 310; an estimate of its value possible, 302; meaning of Protagoras’s dictum with relation to, 302; measured by standard of fine art (sculpture), 307, 308; eight periods of, 307, 308; a fresh race needed to produce new period of, 308; and culture, 309; æsthetic sense indispensable for, 345; possible break-up of, 358.
Clarity, as an element of style, 176-78.
_Clichés_, 149-51.
Cloisters, for artists, 358.
Cochez, of Louvain, on Plotinus, 249 _n._ Coleridge, S. T., his “loud bassoon,” 169; of the spectator type of the contemplative temperament, 332.
Colvin, Sir Sidney, on science and art, 70.
Commandments, tables of, 253, 255.
Communists, French, inspired by Shaftesbury, 269.
Community, the, 244.
Comte, J. A., 301.
Confucian morality, the, 29.
Confucianism, outward manifestation of Taoism, 26.
Conrad, Joseph, his knowledge of the sea, 171.
Contemplation. _See_ Æsthetic contemplation.
Convention, and Nature, Hippias makes distinction between, 5.
Conventions. _See_ Traditions.
Conversion, a _questionnaire_ on, 210 _n._; the process of, 218; the fundamental fact of, 218, 218 _n._; essential outlines of, have been obscured, 220 _n._; Churchmen’s ideas of, 220 _n._; not the outcome of despair or a retrogression, 221, 222; nothing ascetic about it, 222; among the Greeks, 240; revelation of beauty sometimes comes by a process of, 328, 329.
Cooper, Anthony, 261.
Cornish, G. Warre, his article on “Greek Drama and the Dance,” 56.
Cosmos. _See_ Universe.
Courtship, dancing a process of, 46.
Cowper, William, 184; influence of Shaftesbury on, 266.
Craftsman, the, partakes of divine nature of creator of the world, 2.
Creation, not the whole of Man, 314.
Creative impulses. _See_ Impulses.
Crime, an effort to get into step, 245 _n._; defined, 290; natural, 290; evolutive social, 291.
Criminality, as a measure of civilisation, 290, 291.
Critics, of language, 141-51; difficulty of their task, 153 _n._ Croce, Benedetto, his idea of art, 84; tends to move in verbal circles, 84; on judging a work of art, 153 _n._; on mysticism and science, 191 _n._; tends to fall into verbal abstraction, 324 _n._; his idea of intuition, 232 _n._, 320 _n._; on the critic of art as a critic of life, 269; on art the deliverer, 318 _n._; union of æsthetic sense with artistic instinct, 350 _n._ Croiset, Maurice, on Plotinus, 249 _n._ Cromwell, Oliver, 272.
Cruz, Friar Gaspar de, on the Chinese, 31.
Culture, and civilisation, 309.
Curiosity, the sexual instinct a reaction, to the stimulus of, 104, 112.
Custom, 245.
Cuvier, Georges, 181.
Cymbal, the, 53.
Dance, love, among insects, birds, and mammals, 45, 46; among savages, 46; has gained influence in the human world, 48; various forms of, 48, 49; the complete, 49, 50; the seductiveness of, 50; prejudice against, 50, 51; choral, Plotinus compares the moral life of the soul to, 251, 252.
Dance of Life, the, 66, 67.
Dancing, and building, the two primary acts, 36; possibly accounts for origin of birds’ nests, 36 _n._; supreme manifestation of physical life and supreme symbol of spiritual life, 36; the significance of, 37; the primitive expression of religion and of love, 37, 38, 45; entwined with human tradition of war, labour, pleasure, and education, 37; the expression of the whole man, 38, 39; rules the life of primitive men, 39 _n._; religious importance of, among primitive men, 39, 40; connected with all religions, 40; ecstatic and pantomimic, 41, 42; survivals of, in religion, 42; in Christian worship, 42-45; in cathedrals, 44, 45; among birds and insects, 45; among mammals, 45, 46; a process of courtship and novitiate for love, 46, 47; double function of, 47; different forms of, 48-51; becomes an art, 51; professional, 52; Classic and Romantic, 52-60; the ballet, 53, 56-60; solo, 53; Egyptian and Gaditanian, 53, 54; Greek, 55, 56, 60; as morals, 60, 61, 63; all human work a kind of, 61, 62; and music, 61-63; social significance of, 60, 61, 63, 64; and war, allied, 63, 64; importance of, in education, 64, 65; Puritan attack on, 65; is life itself, 65; always felt to possess symbolic significance, 66; the learning of, a severe discipline, 277.
Dancing-school, the function of, process of courtship, 47.
Dante, 311, 349; dancing in his “Paradiso,” 43; intellectual life of, largely guided by delight in beauty of rhythmic relation between law and instance, 73.
Darwin, Charles, 88; poet and artist, 128, 129; and St. Theresa, 198.
Darwin, Erasmus, 181.
David, Alexandra, his book, _Le Philosophe Meh-ti et l’Idée de Solidarité_, 26 _n._ Decadence, of art of living, 8 _n._; rigid subservience to rule a mark of, 173.
Degas, 315 _n._ Democracies, the smallest, are highest, 300.
Demography, 285.
Demosthenes, 336.
De Quincey, Thomas, the music of his style, 164.
Descartes, René, on arts and sciences, 69; represents in France new impetus to sciences, 180; religious, though man of science, 208.
Design, the arts of, 36.
Devadasis, the, sacred dancing girls, 51, 52.
Diaghilev, 59.
Dickens, Charles, 311.
Dickinson, G. Lowes, his account of the Chinese, 20, 21; his account of Chinese poetry, 21, 22.
Diderot, Denis, wide-ranging interests of, 5; translated Shaftesbury, 268.
Discipline, definition of a, 71 _n._ Diving-bell, constructed by Leonardo da Vinci, 119.
Divorces, as test of civilisation, 296.
Doctor, and priest, originally one, 197 _n._, 203.
Dogma, hypothesis, and fiction, 98, 99.
Dogmas, shadows of personal experience, 217.
Drama, Greek, origin of, 55, 56; the real Socrates possibly to be seen in, 78.
Driesch, Hans, on his own mental development, 216 _n._ Drum, the influence of the, 63.
Dryden, John, 148.
Dujardin, Edouard, his story of Huysmans, 166; on Bergson’s style, 177.
Dumont, Arsène, on civilisation, 298, 301.
Duncan, Isadora, 60.
Duprat, G. L., on morality, 34.
Dupréel, Professor, on Hippias, 6 _n._; his _La Légende Socratique_, 82 _n._; on the Protagorean spirit, 302 _n._ Duty, 275, 276.
Easter, dancing of priests at, 44.
Eckhart, Meister, 234, 336.
Education, importance of dancing in, 64, 65; Einstein’s views on, 137; and genius, as tests of civilisation, 291-93.
Egypt, ancient, dancing in, 42; Classical dancing originated in, 52; the most influential dancing-school of all time, 53; musical instruments associated with dancing, originated or developed in, 53; modern, dancing in, 54 _n._; importance of its civilisation, 307.
Eight-hours day, the, 357.
Einstein, Albert, 2, 69 _n._, 72; substitutes new axioms for old, 95; casts doubts on Leonardo da Vinci’s previsions of modern science, 120 _n._; seems to have won a place beside Newton, 133; an imaginative artist, 134; his fondness for music, 134, 135; his other artistic likings and dislikings, 135, 136; an artist also in his work, 136; his views on science, 137; his views on education, 137, 138; on the motives that attract people to science and art, 138, 321; feels harmony of religion and science, 207; concerned with truth, 327; and “science for science’s sake,” 347 _n._ Eleusinian Mysteries, the, 240-43.
Eliot, George, her knowledge of the life of country people, 171; Tolstoy’s opinion of, 311.
Ellis, Havelock, childhood of, 210, 211; his period of emotional and intellectual expansion, 211; loses faith, 212; influence of Hinton’s “_Life in Nature_” on, 215-18.
Els Cosiers, dancing company, 45.
Emerson, R. W., his style and that of Bacon, 161.
Emmanuel, his book on Greek dancing, 55.
Empathy, 66.
Engineering, professional, Leonardo da Vinci called the founder of, 118, 119.
English laws, 98.
English prose style, Cartesian influence on, 180 _n._ English speech, licentiousness of, in the sixteenth century, 148; the best literary prose, 155, 156.
Enjoyment, without possession, 343-46.
Erosian, river, importance of, realised by Leonardo da Vinci, 120.
Eskimos, 255.
Este, Isabella d’, 123.
Ethics, and æsthetics, among the Greeks, 247.
Etruscans, the, 56, 308.
Eucharist, dancing at the, 43.
Eucken, Rudolf, on Shaftesbury, 271.
Eugenics, art of, necessary for preservation of civilisation, 299; Galton the founder of the modern scientific art of, 353; assertion of principle of, by Jesus, 355, 356; question of raising quality of population by process of, 358.
Eusebius, on the worship of the Therapeuts, 42.
Evans, Sir Arthur, 112.
Evolution, theory of, 88, 104; a process of sifting, 355; and devolution, 355; social, 357, 358.
Existence, totality of, Hippias’s supreme ideal, 6.
Existing, and thinking, on two different planes, 101.
“Expression,” 324.
Facts, in the art of civilisation, material, intellectual, and moral (with political), 289.
Fandango, the, 50.
Faraday, Michael, characteristics of, trust in facts and imagination, 130-32; his science and his mysticism, 208.
Farnell, L. R., on religion and science, 197 _n._ Farrer, Reginald, on the philosophic calm of the Chinese, 29 _n._ Faure, Elie, his conception of Napoleon, 10; on Greek art, 76 _n._; has faith in educational value of cinema, 137; on knowledge and desire, 154; on the Greek spirit, 292 _n._ Ferrero, Guglielmo, on the art impulse and the sexual instinct, 109.
Fiction, germs of doctrine of, in Kant, 87; first expression of doctrine of, found in Schiller, 89; doctrine of, in F. A. Lange’s _History of Materialism_, 93; Vaihinger’s doctrine of, 94-103; hypothesis, and dogma, 98, 99; of Bovarism, 335, 336; character constituted by process of, 336.
Fictions, the variety of, 94-100; the value of, 96, 97; summatory, 98; scientific and æsthetic, 102; may always be changed, 103; good and bad, 103.
Fiji, dancing at, 49.
Fijians, the, 13 _n._ Fine arts, the, 70; civilisation measured by standard of, 307; not to be pursued for useful end outside themselves, 322.
Fireworks, 22, 23.
Flaubert, Gustave, is personal, 144; sought to be most objective of artists, 182.
Flowers, the attitude of the poet toward, 168, 169.
Flying-machines, 72 _n._; designed by Leonardo da Vinci, 119.
Foch, Ferdinand, quoted, 103.
Fokine, 59.
Folk-dances, 62.
Force, a fiction, 96.
Fossils, significance of, discovered by Leonardo da Vinci, 120.
Fox, George, 237.
France, tests of civilization applied to, by Niceforo, 295-97.
Francis of Assisi, 237.
Franck, César, mysticism in music of, 237.
Frazer, J. G., on magic and science, 195, 196.
Freedom, a fiction, 100.
French ballet, the, 57, 58.
French speech, its course, 148, 149.
Freud, Sigmund, 111, 318 _n._; regards dreaming as fiction, 103; on the probability of the disappearance of religion, 228 _n._ Frobisher, Sir Martin, his spelling, 173, 174.
Galen, 120.
Galton, Francis, a man of science and an artist, 126-28; founder of the modern scientific art of eugenics, 353; and Jesus’s assertion of the principle of eugenics, 356.
Games, the liking of the Chinese for, 23.
Gaultier, Jules de, 330 _n._; on Buddhist monks, 224 _n._; on pain and pleasure in life, 278 _n._; on morality and reason, 281; on morality and art, 284; on the antinomy between morals and morality, 319; on beauty, 327; on life as a spectacle, 333; the Bovarism of, 335-37; his philosophic descent, 337; applies Bovarism to the Universe, 337; his philosophy seems to be in harmony with physics, 338; the place of morality, religion, and law in his system, 338-40; place of the æsthetic instinct in his system, 341, 343-45; system of, compared with Russell’s, 342, 343; importance of development of æsthetic sense to, 345; and the idea of pure art, 346, 347; considers æsthetic sense mixed in manifestations of life, 349, 350; had predilection for middle class, 356, 357; sees no cause for despair in break-up of civilisation, 358.
Gauss, C. F., religious, though man of science, 208.
Genesis, Book of, the fashioning of the cosmos in, 1, 314.
Genius, the birth of, 109; and education, as tests, of civilisation, 291-93; of country, and temper of the population, 292, 293.
Geology, founded by Leonardo da Vinci, 120.
Geometry, Protagoras’s studies in, 3; a science or art, 68.
Gibbon, Edward, 162.
Gide, André, 322.
Gizycki, Georg von, on Shaftesbury, 260, 267.
Goethe, J. W., 342; representative of ideal of totality of existence, 6; called architecture “frozen music,” 135; his power of intuition, 137; his studies in mathematical physics, 137 _n._; use of word “stamped” of certain phrases, 149; mistook birds, 168; felt harmony of religion and science, 207; and Schiller and Humboldt, 275.
Goncourt, Jules de, his style, 182, 183.
Goncourts, the, 183.
Good, the, and beauty, among the Greeks, 247.
Goodness, and sweetness, in Shaftesbury’s philosophy, 262; and sweetness, originally the same, 263; moral, originally expressed in terms of taste, 263.
Gorgias, 302.
Gourmont, Remy de, 65; his remark about pleasure, 24; on personality, 144; on style, 177; on civilisation, 298; on the Jesuits, 304, 305; on beauty, 315; on art and morality, 321; on sociological function of art, 323.
Government, as art, 3.
Grace, an element of style in writing, 155, 156.
Grammar, Protagoras the initiator of modern, 4; a science or art, 68; writing not made by the laws of, 172, 173.
Grammarian, the, the formulator, not the lawgiver, of usage, 148.
Great Wall of China, the, 28.
Great War, the, 339.
Greece, ancient, genius built upon basis of slavery in, 292; the spirit of, 292.
Greek art, 76 _n._ Greek morality, an artistic balance of light and shade, 260.
Greek speech, the best literary prose, 155.
Greek spirit, the, 76 _n._ Greeks, attitude of thinkers of, on life as art, 3, 247-53; the pottery of, 32; importance of dancing and music in organisation of some states of, 64; books on, written by barbarians, 76 _n._; mysticism of, 205-07, 240-43; spheres of ethics and æsthetics not distinguished among, 247; had a kind of æsthetic morality, 316-18; recognised destruction of ethical and intellectual virtues, 330; a small minority of abnormal persons among, 353 _n._ Greenslet, Ferris, on the Cartesian influence on English prose style, 180 _n._ Groos, Karl, his “the play of inner imitation,” 66; has developed æsthetic side of _miterleben_, 332.
Grosse, on the social significance of dancing, 63, 64.
Grote, George, his chapter on Socrates, 76.
Grotius, Hugo, 261.
Guitar, the, an Egyptian instrument, 53.
Gumplowicz, Ludwig, on civilisation, 301.
Gunpowder, use made of, by Chinese, 22, 23.
Guyau, insisted on sociological function of art, 323, 324; believes that poets and artists will be priests of social religion without dogmas, 349, 350.
Gypsies, possible origin of the name “Egyptians” as applied to them, 54 _n._ Hadfield, Emma, her account of the life of the natives of the Loyalty Islands, 13-18.
Hakluyt, Richard, 143; his picture of Chinese life, 19.
Hall, Stanley, on importance of dancing, 64, 65; on the beauty of virtue, 270 _n._ Handel, G. F., 62.
Handwriting, partly a matter of individual instinct, 156, 157; the complexity and mystery enwrapping, 157; resemblances in, among members of the same family, 157, 158; atavism in, 157, 158.
Hang-Chau, 20.
Hardy, Thomas, his lyrics, 170 _n._; his sensitivity to the sounds of Nature, 171; his genius unquestioned, 187 _n._ Hawaii, dancing in, 51.
Hawthorne, Nathaniel, his style, 161.
Hebrews, their conception of the fashioning of the universe, 1; ancient, their priests and their prophets, 203; never conceived of the art of morals, 253; were no æsthetic intuitionists, 276.
Hegel, G. W. F., 90; poetic quality of his philosophy, 84; his attempt to transform subjective processes into objective world-processes, 101.
Heine, Heinrich, 155 _n._ Hellenism, the revivalists of, 271.
Helmholtz, H. L. F., science and art in, 72.
Hemelverdeghem, Salome on Cathedral at, 49 _n._ Heraclitus, 74.
Herder, J. G. von, his _Ideen zur Geschichte der Menschheit_, 88; inspired by Shaftesbury, 268.
Heredity, in handwriting, 157, 158; in style, 158-61, 190; tradition the corporeal embodiment of, 161.
Hincks, Marcella Azra, on the art of dancing in Japan, 42 _n._ Hindu dance, 41.
Hinton, James, on thinking as an art, 86 _n._; on the arts, 111; the universe according to, 215, 216; Ellis’s copy of his book, 220; on pleasure and pain in the art of life, 278; on methods of arts and moral action, 281, 282.
Hippias, 302; significance of his ideas, in conception of life as an art, 4-6; his ideal, 4, 6; the Great Logician, 6 _n._ Hobbes, Thomas, on space, 95; his dictum _Homo homini lupus_, 262.
Hodgson, Shadworth, 289.
Hoffman, Bernhard, his _Guide to the Bird-World_, 168.
Horace, the popularity of, in modern times, 92.
Hovelaque, Émile, on the Chinese, 27, 28.
Howell, James, his “Familiar Letters,” 184.
Hugo, Victor, 149, 311.
Hula dance, the, 51.
Humboldt, Wilhelm von, 275.
Hume, David, took up fictional point of view, 96; recognised Shaftesbury, 267; influenced by Hutcheson, 275.
Hunt, Leigh, sensitively acute critic of Keats, 167.
Hunter, John, 181.
Hutcheson, Francis, æsthetic moralist, 251; came out of Calvinistic Puritanism, 266; one of the founders of æsthetics, 271, 326 _n._; wrote the first modern treatise on æsthetics, 271; represented reaction against Puritanism, 271; Shaftesbury’s ideas as developed by, 273; his use of the term “moral sense,” 273, 274; his impressive personality, 274; philosophy was art of living to, 274, 275; inconsistent, 314; on distinction between art and æsthetics, 326 _n._; his idea of the æsthetic and the moral emotion, 327 _n._ Huysmans, J. K., his vocabulary, 165; at Wagner concert, 166; fascinated by concert programmes, 166, 167.
Hypothesis, dogma, and fiction, 98, 99.
_I_ and _me_, 147.
Idealisation, in adolescence, 107, 108.
Idealism, 83.
Ideals, are fictions, 100.
Imagination, a constitutive part of thinking, 102; man lives by, 102; guarded by judgment and principles, 130-32; part performed by, in morals, 272; and the æsthetic instinct, 344.
Imbeciles, 352-55.
Imitation, in the productions of young writers, 164.
_Immoral_, significance of the word, 246.
Immortality, a fiction, 100.
Impulses, creative and possessive, 306, 307, 341-43.
Inclination, 275.
India, dancing in, 51, 52; the Todas of, 203 _n._ Indians, American, religious dances among, 40, 42.
Infinite, the, a fiction, 95.
Infinitive, the split, 145-47.
Inge, Dean, on Plotinus, 223 _n._, 249 _n._; on Pagan Mysteries, 241 _n._ Innate ideas, 274.
Insects, dancing among, 45.
Instinct, the part it plays in style, 163; imitation a part of, 164; and tradition, mould morals, 254-59; the possessive, 338-40, 344, 345, 351, _see_ Possessive instinct; the æsthetic, 341, 343-46, 350, _see_ Æsthetic instinct.
Intelligence, the sphere of, 233, 234.
Intuition, the starting point of science, 137; meaning of, 232 _n._; of the man of genius, 320.
Intuitionists, the, 232-34.
Invention, necessary in science, 137.
Invincible ignorance, doctrine of, 304.
Irony, Socratic, 78, 83.
Irrationalism, of Vaihinger, 90.
Isocrates, on beauty and virtue, 247.
Italy, Romantic dancing originated in, 53, 56; the ballet in, 56-58.
Jansenists, the, 303.
Japan, dancing in, 42, 49.
Java, dancing in, 49.
Jehovah, in the Book of Genesis, 1.
Jeremiah, the prophet, his voice and instrument, 178, 179.
Jeres, cathedral of, dancing in, 44.
Jesuits, the, 303-05.
Jesus, and Napoleon, 10, 11; and the Platonic Socrates, 82, 83; asserts principle of eugenics, 353, 356; and Plato, 356.
Joël, Karl, on the Xenophontic Socrates, 78; on the evolution of the Greek philosophic spirit, 206.
John of the Cross, 237.
Johnson, Samuel, the pedantry of, 156; Latin-French element in, 162; his idea of “matter,” 230.
Johnston, Sir H. H., on the dancing of the Pygmies, 51.
Jones, Dr. Bence, biographer of Faraday, 130.
Jonson, Ben, 184.
Kant, Immanuel, 89; germs of the doctrine of the “as if” in, 87; his idea of the art of morals, 253, 254; influenced by Shaftesbury, 253, 254, 266; anecdote about, 257 _n._, 276; rationalises morality, 281.
Keats, John, concerned with beautiful words in “The Eve of St. Agnes,” 167.
Kepler, Johann, his imagination and his accuracy in calculation, 132, 133.
Keyserling, Count Hermann, his _Philosophie als Kunst_, 83 _n._ Kolbe, Rev. Dr., illustrates æsthetic view of morals, 276 _n._ Lamb, Charles, 184.
Landor, W. S., 149; on vulgarisms in language, 151 _n._; on the poet and poetry, 154, 172; on style, 163.
Lange, F. A., his _The History of Materialism_, 73 _n._, 83; sets forth conception of philosophy as poetic art, 83; the Neo-Kantism of, 87; his influence on Vaihinger, 92, 93.
Language, critics of present-day, 141-51; of our forefathers and of to-day, 143; things we are told to avoid in, 145-51; is imagery and metaphor, 165; reaction of thought on, 179-81; progress in, due to flexibility and intimacy, 183.
Languages, the Yo-heave-ho theory of, 61.
Lankester, Sir E. Ray, 70.
Lao-tze, and Confucius, 25, 26; the earliest of the great mystics, 204; harmony of religion and science in his work, 204, 205.
Law, a restraint placed upon the possessive instinct, 339, 340; to be replaced by æsthetic instinct, 340, 341.
Laycock, on handwriting, 158 _n._ Leibnitz, Baron S. W. von, 6 _n._; on space, 95; on music, 135; admired Shaftesbury, 268.
Libby, M. F., on Shaftesbury, 273.
Lie, Jonas, 163.
Life, more difficult to realise it as an art than to act it so, 1, 2; as art, view of highest thinkers of China and Greece on, 2-6, 247-52; ideal of totality of, 6; art of, has been decadent during last two thousand years, 8 _n._; of the Loyalty Islanders, 13-18; the Lifuan art of, 13-18; the Chinese art of, 27, 28; Chinese civilization proves that it is art, 30; embodiment of the Chinese symbol of the art of, 33; identical with art, 33-35; the art of, a dance, 66, 67; mechanistic explanation of, 216; viewed in its moral aspect, 244; the moralist the critic of the art of, 247; as art, attitude of Romans toward, 252; as art, attitude of Hebrews toward, 253; the art of, both pain and pleasure in, 277, 278; as art, a conception approved by men of high character, 278, 279; not to be precisely measured by statistics, 302; as a spectacle, 333, 334.
Lifu. _See_ Loyalty Islands.
Lifuans, the, the art of living of, 13-18.
Limoges, 44.
Linnæan system, the, a fiction, 99.
Liszt, Franz, 329.
Livingstone, David, 38.
Locke, John, and Shaftesbury, 261, 262.
Locomotive, the, 72 _n._ Lodge, Sir Oliver, his attempt to study religion, 201.
Logic, a science or art, 68; and fiction, 94; of thought, inescapable, 183.
Loret, on dancing, 54 _n._ Love, dancing the primitive expression of, 37, 45; curiosity one of the main elements of, 112.
Loyalty Islands, the, customs of the natives of, 13-18.
Lucretius, 207.
Lull, Ramon, 237.
Lulli, J. B., brought women into the ballet, 57.
Luxuries, consumption of, as test of civilisation, 294-97.
Machinery of life, 216.
Madagascar, dancing in, 49.
Magic, relation of, to science and religion, 193-96.
Magna Carta, 98.
Malherbe, François de, 148.
Mallarmé, Stéphane, music the voice of the world to, 166.
Mallorca, dancing in church in, 44, 45.
Mammals, dancing among, 45, 46.
Man, has found it more difficult to conceive life as an art than to act it so, 1; his conception less that of an artist, as time went on, 2; in Protagoras’s philosophy, 3, 4, 302; ceremony and music, his external and internal life, 25; added to Nature, 153; has passed through stages of magic, religion, and science, 196; an artist of his own life, 271; is an artist, 310; as artist and as æsthetician, 314; becomes the greatest force in Nature, 339; practices adopted by, to maintain selection of best stock, 354.
Mandeville, Sir John, on Shaftesbury, 262.
Manet, 311.
Marco Polo, his picture of Chinese life, 19, 20; noticed absence of beggars in China, 31; on public baths in China, 32.
Marett, on magic and science, 195.
Marlowe, Christopher, 170, 184.
Marquesans, the, 13 _n._ Marriott, Charles, on the union of æsthetic sense with artistic instinct, 350 _n._ Martial, 54.
Mass, dancing in ritual of, 43-45; analogy of Pagan Mysteries to, 242.
Master of Arts, 69.
Materialistic, the term, 229.
Mathematical Renaissance, the, 69.
Mathematics, false ideas in, 94, 95; and art, 138-40.