Maupassant, Guy de, 311.
McDougall, William, accepts magic as origin of science, 195; his criticism of the “moral sense,” 274 _n._; his study of civilisation, 298; on birth-rate, 298 _n._ _Me_ and _I_, 147.
Mead, G. R., his article _The Sacred Dance of Jesus_, 44.
Measurement, Protagoras’s saying concerning, 3, 302.
Mechanics, beginning of science of, 74; theories of, studied by Leonardo da Vinci, 120.
Medici, Catherine de’, brought Italian ballet to Paris, 57.
Medicine, and religion, 197 _n._, 203.
Men, of to-day and of former days, their comparative height, 142.
Meteorological Bureau, the, 203.
Metre, poetic, arising out of work, 62.
Michelangelo, 311.
Milan, the ballet in, 58.
Mill, J. S., on science and art, 70; criticism of Bentham, 99.
Millet, J. F., 311.
Milton, John, his misuse of the word “eglantine,” 169; Tolstoy’s opinion of, 311.
Mirandola, Pico della, 6 _n._ Mittag-Lefler, Gustav, on mathematics, 139.
Möbius, Paul Julius, German psychologist, 109.
Moissac, Salome capital in, 49 _n._ Montaigne, M. E. de, his style flexible and various, 148; his quotations moulded to the pattern of his own mind, 152; his style and that of Renan, 161; the originality of his style found in vocabulary, 165.
Montesquieu, Baron de, his admiration for Shaftesbury, 268; on the evils of civilisation, 297.
_Moral_, significance of the term, 246.
Moral maxims, 254, 258.
Moral reformer, the, 282.
“Moral sense,” the term as used by Hutcheson and Shaftesbury, 273, 274; in McDougall’s _Social Psychology_, 274 _n._ Moral teaching, 246 _n._ Moral World-Order, the, a fiction, 100.
Morand, Paul, 170 _n._ Moreau, Gustave, 167.
Moszkowski, Alexander, his book on Einstein, 134 _n._ Moralist, the critic of the art of life, 247.
Morality, Greek, an artistic balance of light and shade, 260; a matter of taste, 263; the æsthetic quality of, evidenced by language, 263, 264; Shaftesbury’s views on, 264-66; the influence of Shaftesbury on our modern, 266, 267; imagination in, 272; instinctive, according to Hutcheson, 274; conception of, as an art, does not lack seriousness, 276; the æsthetic view of, advocated by Catholics, 276 _n._; the æsthetic view of, repugnant to two classes of minds, 280-82; indefiniteness of criterion of, an advantage, 282, 283; justification of æsthetic conception of, 283, 284; flexible and inflexible, illustrated by Jesuits and Pascal, 303-05; art the reality of, 314; æsthetic, of the Greeks, 316-18; the antinomy between morals and, 319; a restraint placed upon the possessive instinct, 338-40; to be replaced by æsthetic instinct, 340, 341; æsthetic instinct has the character of, 346.
Morals, dancing as, 61, 63, 66; books on, 244; defined, 245; means _custom_, 245; Plotinus’s conception of, 250-52; as art, views of the Greeks and the Romans on, differ, 252; Hebrews never conceived of the art of, 253; as art, modern conception of, 253; the modern feeling about, is Jewish and Roman, 253; Kant’s idea of the art of, 253, 254; formed by instinct, tradition and reason, 254-59; Greek, have come to modern world through Shaftesbury, 267; the æsthetic attitude possible for spectator of, 270; art and æsthetics to be kept apart in, 314, 315, 325-28; a species of the genus art, 316; the antinomy between morality and, 319; philosophers have failed to see that it is an art, 324.
Mozart, Wolfgang, his interest in dancing, 62.
Müller-Freienfels, Richard, two kinds of æsthetic contemplation defined by, 331.
Multatuli, quoted on the source of curiosity, 112.
Music, and ceremony, 24-26; and acting, and poetry, 36; and singing, and dancing, their relation, 62; a science or art, 68; discovery of Pythagoras in, 74; philosophy the noblest and best, 81 _n._; the most abstract, the most nearly mathematical of the arts, 135; of style, 163, 164; of philosophy and religion, 179.
Musical forms, evolved from similar dances, 62.
Musical instruments, 53, 54.
Musset, Alfred de, his _Confession d’un Enfant du Siècle_, 144.
Mysteries, the Eleusinian, 240-43.
Mystic, the genuine, 202; Lao-tze, the earliest great, 204.
Mystics, the great, 236, 237.
Mysticism, the right use and the abuse of the word, 191; and science, supposed difference between, 191-203; what is meant by, 192; and science, the harmony of, as revealed in human history, 203-08; of the Greeks, 205-07, 240-43; and science, the harmony of, as supported by personal experience of Havelock Ellis, 209-18; and science, how they came to be considered out of harmony, 226-35; and science, harmony of, summary of considerations confirming, 235, 236; the key to much that is precious in art and Nature in, 237, 238; is not science, 238-40; æsthetics on same plane as, 330 _n._ _See_ Religion.
Napoleon, described as unmitigated scoundrel by H. G. Wells, 8-10; described as lyric artist by Élie Faure, 10.
Nature, and convention, Hippias made distinction between, 5; comes through an atmosphere which is the emanation of supreme artists, 166; the attitude of the poet in the face of, 168, 169; the object of Leonardo da Vinci’s searchings, 114, 117, 125; Man added to, 153; communion with, 227; in Shaftesbury’s system, 265; and art, 312, 313.
Nests, birds’, and dancing, 36 _n._ Newman, Cardinal J. H., the music of his style, 164.
Newton, Sir Isaac, his wonderful imagination, 72; his force of attraction a summatory fiction, 98; represents in England new impetus to sciences, 180; his attempt to study religion, 199-201; religious, though a man of science, 208.
Niceforo, Alfred, his measurement of civilisation, 286, 293, 297; tests of civilisation applied to France by, 295-97.
Nietzsche, Friedrich, 111; conceived the art of life as a dance, 66, 67; poetic quality of his philosophy, 84; Vaihinger’s opinion of, 94; on Leonardo da Vinci, 115; the “divine malice” of, 155 _n._; laboured at his prose, 182; demolished D. F. Strauss’s ideas, 215; on learning to dance, 277; his gospel of taste, 280; on the Sophists, 302 _n._; on art as the great stimulus of life, 322, 323; on the world as a spectacle, 334, 335; moved by the “masculine protest,” 336; Jesus reproached by, 355.
Novelists, their reservoirs of knowledge, 171.
Noverre, and the ballet, 57.
Ockham, William of, 96.
Old Testament, the, and the conception of morality as an art, 276. _See_ Bible, Genesis.
Omahas, the, 46.
Optimism, and pessimism, 90-92.
Origen, on the dancing of the stars, 43.
Orpheus, fable of, 61.
Osler, Sir William, 72.
Pacific, the, creation as conceived in, 2; dancing in, 49. _See_ Lifuans.
Pain, and pleasure, united, 278.
Painting, Chinese, 29, 32; and sculpture, and the arts of design, 36; of Leonardo da Vinci, 113, 114, 117, 118.
Palante, Georges, 337 _n._ Paley, William, 267.
Palladius, 358.
Pantomime, and pantomimic dancing, 41, 42, 49, 56.
Papuans, the, are artistic, 351 _n._ Parachute, constructed by Leonardo da Vinci, 119.
Paris, dancing in choir in, 44; the ballet at, 57.
Parker, Professor E. H., his book _China: Past and Present_, 23 _n._; his view of Chinese vermin and dirt, 31, 32.
Parks, 351.
Parmelee, Maurice, his _Criminology_, 291 _n._ Parsons, Professor, 142.
Pascal, Blaise, and the Jesuits, 303, 304.
Pater, W. H., the music of his style, 164.
Pattison, Pringle, his definition of mysticism, 192 _n._ Paul, Vincent de, his moral attitude, 279, 280.
Paulhan, on morality, 284.
Pepys, Samuel, the accomplishment of his “Diary,” 176.
Perera, Galeotto, his picture of Chinese life, 19; noticed absence of beggars in China, 31.
Pericles, 289.
Personality, 144.
Pessimism, and optimism, 90-92.
Petrie, Dr. W. M. Flinders, his attempt to measure civilisation by standard of sculpture, 307, 308.
Peyron, traveller, 50.
Phenomenalism, Protagoras the father of, 3.
Philosopher, the primitive, usually concluded that the universe was a work of art, 1; a creative artist, 72, 73, 85; curiosity the stimulus of, 104, 105.
Philosophy, of the Chinese, 32; solution of the conflicts of, in art, 82, 83; and art, close relationship of, 83-85; and poetry, 83, 85; is music, 179.
Physics, and fiction, 95.
Pictures, revelation of beauty in, 328, 329; should be looked at in silence, 329 _n._ Pindar, calls Hellas “the land of lovely dancing,” 55.
Planck, Max, physicist, 136.
Plato, Protagoras calumniated by, 3; made fun of Hippias, 4; his description of a good education, 64; a creative artist, 73; his picture of Socrates, 75, 78; the biographies of, 76, 77; his irony, 78, 83; a marvellous artist, 82; a supreme artist in philosophy, 83; a supreme dramatist, 83; his “Ideas” and the “As-If world,” 88; the myths, as fictions, hypotheses, and dogmas, 99; represents the acme of literary prose speech, 155; and Plotinus, 222; on the Mysteries, 242; asceticism, traced in, 249 _n._; on justice, 289; his ideal of wise moderation addressed to an immoderate people, 292; Sophists caricatured by, 302; his “guardians,” 306; the ultrapuritanical attitude of, 317, 318 _n._; and Bovarism, 336; on the value of sight, 345 _n._; wished to do away with imaginative literature, 353 _n._; and Jesus, 356.
Pleasure, a human creation, 24; and pain, united, 278.
Pliny, 353 _n._ Plotinus, 222; Greek moral spirit reflected in, 249; his doctrine of Beauty, 250, 251; his idea that the moral life of the soul is a dance, 251, 252; his simile of the sculptor, 276 _n._; founder of æsthetics in the philosophic sense, 329; recognised three aspects of the Absolute, 330; insisted on contemplation, 330 _n._, 331; of the participating contemplative temperament, 332.
Poet, the type of all thinkers, 102; Landor on, 154; his attitude in the presence of Nature, 168, 169; the great, does not describe Nature minutely, but uses his knowledge of, 170, 171.
Poetry, Chinese, 21, 22, 29, 32; and music, and acting, 36; and dancing, 56; and philosophy, 83, 85; and science, no sharp boundary between, 102, 128, 129; Landor on, 154; a _making_, 312; Aristotle’s view of, 318; does not exist for morals, 318.
Polka, origin of the, 60.
Polynesia, dancing in, 49.
Polynesian islanders, 255.
Pontiff, the Bridge-Builder, 2.
Pope, Alexander, influence of Shaftesbury on, 266.
Porphyry, 167.
Possessive instinct, restraints placed upon, 338-40; in Gaultier and Russell, 344; excesses of, 351.
Pottery, of the Chinese, 32, 33; of the Greeks and the Minoan predecessors of the Greeks, 32.
Pound, Miss, on the origin of the ballad, 62 _n._ Pragmatism, 323.
Precious stones, attitude of the poet toward, 169.
Prettiness, and beauty, 315 _n._ Priest, cultivated science in form of magic, 195; and doctor, originally one, 197 _n._, 203.
Prodicus, 302; the Great Moralist, 6 _n._ Progress, 143, 149; on meaning of, 287.
Prophecy, 204.
_Prophet_, meaning of the word, 203, 204.
Propriety, 24-26.
Protagoras, significance of his ideas, in conception of life as an art, 3, 4; his interest for us to-day, 3; his dictum “Man is the measure of all things,” 3, 302; concerned to regard living as an art, 248.
Proust, Marcel, 172, 184; his art, 170 _n._, 186, 187; his _A la Recherche du Temps Perdu_, 171, 187; admiration of, for Ruskin, 316 _n._ Puberty, questions arising at time of, 105-07.
Puritanism, reaction against, represented by Hutcheson, 271.
Pygmies, the dancing of the, 51.
Pythagoras, represents the beginning of science, 73, 74; fundamentally an artist, 74, 75; founded religious brotherhoods, 206, 207.
Quatelet, on social questions, 288.
Quoting, by writers, 152.
Rabbitism, 294.
Race mixture, 308.
Raleigh, Sir Walter, his literary style, 143.
Ramedjenis, the, street dancers, 52.
Rank, Dr. Otto, his essay on the artist, 111.
Realism, 83.
Reality, a flux of happening, 101.
Reason, helps to mould morals, 255-59.
Reid, Thomas, influenced by Hutcheson, 275.
Relativism, Protagoras the father of, 3.
Religion, as the desire for the salvation of the soul, 8; origin of dance in, 38; connection of dance with, among primitive men, 39; in music, 179; and science, supposed difference between, 191-203; its quintessential core, 191; control of Nature through oneness with Nature, at the heart of, 194; relation of, to science and magic, 194-96; the man of, studying science, 202; and science, the harmony of, as revealed in human history, 203-08; and science, the harmony of, as supported by personal experience of Havelock Ellis, 209-18; asceticism has nothing to do with normal, 222; and science, how they came to be considered out of harmony, 226-35; the burden of the traditions of, 227; and church, not the same, 228 _n._; the instinct of, 234; and science, harmony of, summary of considerations confirming, 235, 236; is not science, 238-40; an act, 243; a restraint placed upon the possessive instinct, 339, 340; to be replaced by æsthetic instinct, 340, 341. _See_ Mysticism.
Religions, in every case originally saltatory, 40.
Religious dances, ecstatic and pantomimic, 41; survivals of, 42; in Christianity, 42-45.
Renan, J. E., his style, 161; his _Life of Jesus_, 212; on truth, 301.
“Resident in Peking, A,” author of _China as it Really Is_, 21, 22.
Revelation, Book of, 153.
Revival, the, 241, 243.
Rhythm, marks all the physical and spiritual manifestations of life, 37; in work, 61.
Rickert, H., his twofold division of Reality, 325, 326.
Ridgeway, William, his theory of origin of tragedy, 56.
Roberts, Morley, ironical over certain “men of science,” 126 _n._ Robinson, Dr. Louis, on apes and dancing, 46; on the influence of the drum, 63.
Rodó, his conceptions those of Shaftesbury, 269.
Roman law, 98.
Romans, the ancient, dancing and war allied among, 63, 64; did not believe that living is an art, 252.
Romantic spirit, the, 206.
Romantics, the, 149, 156.
Rome, ancient, dancing in, 49; genius built upon basis of slavery in, 292.
Rops, Félicien, 167.
Ross, Robert, 150.
Rouen Cathedral, Salome on portal of, 49 _n._ Rousseau, J. J., Napoleon before grave of, 11; felt his lapses, 79; grace of, 149; love of Nature developed through, 238; and Shaftesbury, 268, 269; decided against civilisation, 298.
Roussillon, 44.
Rule, rigid subserviency to, mark of decadence, 173; much lost by rigid adherence to, in style, 175.
_Rules for Compositors and Readers_, on spelling, Oxford University Press, 174 _n._ Russell, Bertrand, on the Chinese, 23; on mathematics, 139, 140; on the creative and the possessive impulses, 305-07, 341, 342; system of, compared with Gaultier’s, 342, 343.
Russia, the genius of, compared with the temper of the population, 293.
Russian ballet, the, 58-60.
Rutherford, Sir Ernest, on the atomic constitution, 97 _n._ St. Augustine, 79, 202; on the art of living well, 252.
St. Basil, on the dancing of the angels, 43.
St. Bonaventura, said to have been author of “Diet a Salutis,” 43.
St. Denis, Ruth, 60.
St. Theresa, and Darwin, 198, 199.
Salome, the dance of, 49.
_Salt_, intellectual and moral suggestion of the word, 263, 263 _n._, 264.
Salt, Mr., 169.
Samoa, sacred position of carpenter in, 2.
Sand, George, on civilisation, 300.
Santayana, Professor George, on union of æsthetic sense with artistic instinct, 350 _n._ Schelling, F. W. J. von, 90; on philosophy and poetry, 83.
Schiller, Friedrich von, influence on Vaihinger, 89; and the æsthetic conception of morals, 275.
Schleiermacher, Friedrich, 90.
Schmidt, Dr. Raymund, 93 _n._ Schopenhauer, Arthur, 330 _n._; his influence on Vaihinger, 90; as regards his quotations, 152; morals based on sympathy, according to, 272; on the uselessness of art, 319; on the man of genius, 320; on sociological function of art, 323; on the proper way of looking at pictures, 329 _n._; on the world as a spectacle, 334.
Science, spirit of modern, in Protagoras, 4; as the search for the reason of things, 8; and poetry, no sharp boundary between, 102, 128, 129; impulse to, and the sexual instinct, 112; intuition and invention needed by, 137; and mysticism, supposed difference between, 191-203; what is meant by, 192; and art, no distinction between, in classic times, 68; and art, distinction between, in modern times, 68-70; definitions of, 70, 71; is of the nature of art, 71; the imaginative application of, 72; Pythagoras represents the beginning of, 74; control of Nature through oneness with Nature, at the heart of, 194; relation of, to magic and religion, 194-96; and pseudo-science, 199-202; and mysticism, the harmony of, as revealed in human history, 203-08; and mysticism, the harmony of, as supported by personal experience of Havelock Ellis, 209-18; and mysticism, how they came to be considered out of harmony, 226-35; traditions of, 228; the instinct of, 234; and mysticism, harmony of, summary of considerations confirming, 235, 236; is not religion, 238-40; not pursued for useful ends, 322; for science’s sake, 347.
Sciences, and arts, 68-70; biological and social, fiction in, 99; mathematical impetus given to, toward end of seventeenth century, 180; biological, awakening of, 181; mathematical, renaissance of, 181.
Scientist, the true, an artist, 72, 73, 112, 126; curiosity the stimulus of, 104, 105; the false, 125, 126; who turns to religion, 199-201.
Scott, W. R., on art and æsthetics, 326 _n._ Scottish School, the, 267.
Sculpture, painting, and the arts of design, 36; civilisation measured by standard of, 308.
Seises, the, the dance of, 44 _n._ Selous, Edmund, 36 _n._ Seville, cathedral of, dancing in, 44.
Sex, instinct of, a reaction to the stimulus of curiosity, 104; early questions concerning, 105-07; source of art impulse, 108-12; and the scientific interest, 112; not absolutely essential, 234.
Sexual imagery, strain of, in thought, 113.
“Shadow,” 219 _n._ Shaftesbury, Earl of, influence on Kant, 254; illustrated unsystematic method of thinking, 259; his book, 260; his theory of Æsthetic Intuitionism, 260; his affinity to the Greeks, 260; his early life, 261; his idea of goodness, 262; his principles expounded, 264-66; his influence on later writers and thinkers, 266; his influence on our modern morality, 266, 267; the greatest Greek of modern times, 267, 271; his service to the modern world, 267; measure of his recognition in Scotland and England, 267; recognition of, abroad, 268, 269; made no clear distinction between creative artistic impulse and critical æsthetic appreciation, 270; realised that reason cannot affect appetite, 270; one of the founders of æsthetics, 271; his use of the term “moral sense,” 273, 274; temperamentally a Stoic, 279; of the æsthetic contemplative temperament, 332, 333.
Shakespeare, William, 148; his style compared with that of Bacon, 160; affected by the intoxication of words, 167; stored up material to be used freely later, 170, 171; the spelling of his name by himself, 173; surpasses contemporaries in flexibility and intimacy, 184; Tolstoy’s opinion of, 311; on Nature and art, 312, 313; his figure of Prospero, 331.
Shamans, the, religious dances among, 40, 41; their wills brought into harmony with the essence of the world, 193; double attitude of, 194.
Shelley, P. B., mysticism in poetry of, 237; on imagination and morality, 238.
Sidgwick, Henry, 255, 314.
Singer, Dr. Charles, his definition of science, 70, 71.
Singing, relation to music and dancing, 62.
Silberer, Herbert, on magic and science, 195.
Simcox, Edith, her description of conversion, 218 _n._ Skene, on dances among African tribes, 38.
Slezakova, Anna, the polka extemporised by, 60.
Smith, Adam, his “economic man,” 99; morals based on sympathy, according to, 272; influenced by Hutcheson, 275.
Social capillarity, 298.
Social ladder, 298, 299.
Social statistics, 286-88.
Socialists, French, inspired by Shaftesbury, 269.
Socrates, the Platonic, 75, 78; Grote’s chapter on, 76; the real and the legendary, 76, 79, 82; three elements in our composite portrait of, 77-79; the Platonic, and the Gospel Jesus, 82, 83; on philosophy and music, 179; his view of the moralist, 248.
Solidarity, socialistic, among the Chinese, 26, 27.
Solmi, Vincian scholar, 114.
Sophocles, danced in his own dramas, 56; beauty and moral order in, 247; Tolstoy’s opinion of, 311.
Soul, a fiction, 100; in harmony with itself, 219; the moral life of, as a dance, 251, 252.
South Sea Islands, dancing in, 49.
Space, absolute, a fiction, 95.
Spain, dancing in, 44, 50, 54.
Speech, the best literary prose, 155; in Greece, 155; in England, 155, 156; the artist’s, 156; a tradition, 161.
Spelling, and thinking, 127 _n._; has little to do with style, 173; now uniform and uniformly bad, 174, 175.
Spencer, Herbert, on science and art, 68; on use of science in form of magic, 195; the universe according to, 215; on the harmlessness of moral teaching, 246 _n._; on diminishing birth-rate, 294 _n._ Spengler, Dr. Oswald, on the development of music, 135 _n._; argues on the identity of physics, mathematics, religion, and great art, 138; his theory of culture and civilisation, 309, 310.
Spinoza, Baruch, 89; has moved in sphere where impulses of religion and science spring from same source, 207; transforms ethics into geometry, 281; has been called a God-intoxicated man, 316 _n._; his “intellectual love of God,” 342.
Spirit, and matter, 229, 230.
Statistics, uncertainty of, 286; for measurement of civilisation, 286-88; applied to France to test civilisation, 295-97.
Steele, Dr. John, on the Chinese ceremonial, 29 _n._ Stephen, Sir Leslie, on poetry and philosophy, 85; could see no good in Shaftesbury, 268.
Stocks, eradication of unfit, by Man, 354; recommended by Jesus, 355, 356.
Stoics, the, 207.
Strauss, D. F., his _The Old Faith and the New_, 214.
Style, literary, of to-day and of our fore-fathers’ time, 143; the achievement of, 155; grace seasoned with salt, 155; atavism in, in members of the same family, 158, 190; atavism in, in the race, 160, 190; much that is instinctive in, 163; the music of, 163, 164; vocabulary in, 164, 165; the effect of mere words on, 165-67; familiarity with author’s, necessary to understanding, 171, 172; spelling has little to do with, 173; much lost by slavish adherence to rules in, 175; must have clarity and beauty, 176-78; English prose, Cartesian influence on, 180 _n._; personal and impersonal, 182, 183; progress in, lies in casting aside accretions and exuberances, 183; founded on a model, the negation of style, 188; the task of breaking the old moulds of, 188, 189; summary of elements of, 190. _See_ Writing.
Suicide, rate of, as test of civilisation, 295, 296.
Swahili, dancing among, 38.
Swedenborg, Emanuel, his science and his mysticism, 208.
Swedish ballet, the, 60.
_Sweet_ (_suavis_), referring to moral qualities, 264.
Sweetness, and goodness, in Shaftesbury’s philosophy, 262; originally the same, 263.
Swift, Jonathan, laments “the corruption of our style,” 142; beauty of his style, rests on truth to logic of his thought, 183; utterance of, combining two conceptions of life, 333.
Swimming-belt, constructed by Leonardo da Vinci, 119.
Swinburne, C. A., on writing poetry to a tune, 62; his _Poems and Ballads_, 172; his _Songs before Sunrise_, 212.
Sylvester, J. J., on mathematics, 139.
Symphony, the development of a dance suite, 62.
Syndicalism, as test of civilisation, 296, 297.
Taglioni, Maria, 58.
Tahiti, dancing at, 50.
Tambourine, the, 53.
_Tao_, the word, 204.
Taste, the gospel of, 280.
Theology, 227.
Therapeuts, the worship of, 42.
Things, are fictions, 98.
Thinking, of the nature of art, 85, 86; and existing, on two different planes, 101; the special art and object of, 101; is a comparison, 102; is a regulated error, 103; abstract, the process of its birth, 108, 109.
Thompson, Silvanus, on Faraday, 132.
Thomson, James, influence of Shaftesbury on, 266.
Thomson, Sir Joseph, on matter and weight, 230.
Thoreau, H. D., on morals, 282.
Thought, logic of, inescapable, 183.
Tobacco, consumption of, as test of civilisation, 295.
Todas, the, of India, 203 _n._ Toledo, cathedral of, dancing in, 44.
Tolstoy, Count Leo, his opinions on art, 311.
Tonga, sacred position of carpenter in, 2.
Tooke, Horne, 151 _n._ Townsend, Rev. Joseph, on the fandango, 50.
Tradition, the corporeal embodiment of heredity, 161; and instinct, mould morals, 254-59.
Traditions, religious, 227; scientific, 228.
Triangles, 53.
Truth, the measuring-rod of, 230-32.
Tunisia, Southern, dancing in, 49.
T’ung, the story of, 33.
Turkish dervishes, dances of, 41.
Tuscans, the, 56. _See_ Etruscans.
Tyndall, John, on Faraday, 130-32.
Tyrrells, the, the handwriting of, 157.
Ugliness, 328.
Ulysses, representative of ideal of totality of existence, 6.
United States, the genius of, compared with the temper of the population, 293.
Universe, conceived as work of art by primitive philosopher, 1; according to D. F. Strauss, 214; according to Spencer, 215; according to Hinton, 216; according to Sir James Frazer, 219 _n._; according to Bertrand Russell, 219 _n._; conception of, a personal matter, 219 _n._; the so-called materialistic, 229, 230; Bovarism of, 337.
Utilitarians, the, 267, 268.
Uvea, 15. _See_ Loyalty Islands.
Vaihinger, Hans, his _Philosophie des Als Ob_, 86; English influence upon, 86, 87; allied to English spirit, 87, 88; his origin, 88; his training, and vocation, 88-93; influence of Schiller on, 89; philosophers who influenced, 89, 90; his pessimisms, irrationalism, and voluntarism, 90; his view of military power of Germany, 90, 91; his devouring appetite for knowledge, 92; reads F. A. Lange’s _History of Materialism_, 92, 93; writes his book at about twenty-five years of age, 93; his book published, 94; the problem he set out to prove, 94; his doctrine of fiction, 94-102; his doctrine not immune from criticism, 102; the fortifying influence of his philosophy, 102, 103; influenced Adler, 337.
Valencia, cathedral of, dancing in, 44.
Valerius, Maximus, 353 _n._ Van Gogh, mysticism in pictures of, 237.
Varnhagen, Rahel, 66.
Verbal counters, 149, 150.
Verlaine, Paul, the significance of words to, 168.
Vesalius, 120.
Vasari, Giorgio, his account of Leonardo da Vinci, 115, 123.
Vestris, Gaetan, and the ballet, 57.
Vinci, Leonardo da, man of science, 113, 125; as a painter, 113, 114, 117, 118; his one aim, the knowledge and mastery of Nature, 114, 117, 125; an Overman, 115; science and art joined in, 115-17; as the founder of professional engineering, 118, 119; the extent of his studies and inventions, 119, 120; a supreme master of language, 121; his appearance, 121; his parentage, 121; his youthful accomplishments, 122; his sexual temperament, 122, 123; the man, woman, and child in, 123, 124; a figure for awe rather than love, 124.
Vinci, Ser Piero da, father of Leonardo da Vinci, 121.
Virtue, and beauty, among the Greeks, 247; the art of living well, 252; in Shaftesbury’s system, 265, 266; beauty of, 270 _n._ Virtues, ethical and intellectual, 330.
Visconti, Galeazzo, spectacular pageants at marriage of, 57.
Vocabulary, each writer creates his own, 164, 165.
Voltaire, F. M. A. de, recognised Shaftesbury, 268; on the foundations of society, 289.
Wagner, Richard, on Beethoven’s Seventh Symphony, 62, 63.
Wallas, Professor Graham, on Plato and Dante, 73.
War, and dancing, allied, 63, 64.
Wealth, as test of civilisation, 296, 297.
Weight, its nature, 230.
Weismann, and the study of heredity, 127.
Wells, H. G., his description of Napoleon, 8-10, 12.
Whitman, Walt, his _Leaves of Grass_, 172; words attributed to him on what is right, 254.
Woman, the question, what she is like, 106.
Words, have a rich content of their own, 166; the intoxication of, 167-69; their arrangement chiefly studied by young writer, 172.
Wordsworth, William, 184; influence of Shaftesbury on, 266.
Work, a kind of dance, 61, 62.
World, becoming impalpable and visionary, 337, 338. _See_ Universe.
Writers, the great, have observed decorum instinctively, 181, 182; the great, learn out of themselves, 188, 189; the great, are heroes at heart, 189.
Writing, personality in, 144, 190; a common accomplishment to-day, 144, 145; an arduous intellectual task, 151, 153, 190; good and bad, 154; the achievement of style in, 155; machine-made, 156; not made by the laws of grammar, 172, 173; how the old method gave place to the new, 179-81; summary of elements of, 190. _See_ Handwriting, Style.
Wundt, Wilhelm, on the dance, 38, 39 _n._ Xavier, Francis, 123, 237.
Xenophon, his portrait of Socrates, 77.
Zeno, 249 _n._ ● Transcriber’s Notes: ○ Text that was in italics is enclosed by underscores (_italics_). Text that was in bold face is enclosed by equals signs (=bold=). ○ Footnotes have been moved to follow the chapters in which they are referenced.