Barbara Frietchie, 84, 133.
Barton, 67.

Battle of Ivry, 49, 77.
Bayley, 119.

Beecher, H. W., 299, 300.
Bells, The, 143, 169.

Bells of Shandon, 85, 112.
Beppo, 85.
Bernard, 79.

Bertha in the Lane, 167.
Bigelow Papers, 79, 160.
Bird Let Loose, The, 234.
Birthday Ode, 101.

Bishop of Rum-ti-Foo, 94.
Black, W., 191.
Black Regiment, 110.
Boadicea, 9.

Boker, 110.

Botanic Garden, 276.

Break, break, break, 221.

Breathing, and length of line, 25.

Breton, Ñ., 106.

Bridge of Sighs, 72, 114.
Broadswords of Scotland, 75.
Bristowe tragedy, 157.
Brooke, 259.

Brown, M. T., 15, 17.
Browning, Mrs. E. B., 40, 111, 159,
167, 237.

Browning, R., 9, 46, 53, 73, 110,
114, 131, 132, 139, 148, 163, 164,
165, 170, 201, 304, 309-311.
Bryant, W. C., see Iliad, 230, 334,
335, 336, 343.

Burns, 144, 158, 159, 224.

Byron, 80, 85, 91, 130, 139, 147,

Comus, 306, 313.

Comparison, principle of, at the
basis of all art, 27; in forming
words, 8, 174, 175, 187; in de-
termining meaning of phrases,
180-185; words formed from,
not necessarily poetic, 186, 208;
but are figurative, 195; how com-
parisons are used appropriately in
poetry, 190, 206, 225-239, 260,
265-270, 281-284, 287-295, 299-
307; how inappropriately, 190,
200-203, 271, 272, 296-318.
Completeness in form, 322-327.
Comus, 306, 313.

Conclusive effects. See Assurance,
Positiveness, etc.

Concord Monument, Hymn at com-
pletion of, 236.

Confidence. See Assurance, Posi-
tiveness, etc.

Consistency in form, 321-327.
Contempt, how represented, 128,
148, 149.

Continuity in form, 321-327.

Coriolanus, 129, 138, 162, 166.

Courage. See Determination.

Course of Time, 163.

Cowley, 159.

Cowper, 70, 297, 337, 338.

Elegant extracts, 216, 239.
Elegy, Gray's, 42, 137.

Ellen McJones Aberdeen, 52.
Ellipsis, 161.

Elocution, influence in language,
18-in poetry, 21; its elements
classified, 32-36; discoursive 33;
dramatic, 33.

Eloquence of thought, metre repre-
senting, 68, 74, 86; quality, 127.
Emerson, 83, 236, 302.
Emotivc tendency in forming lan-
guage, 13; in character, 14; in
elocution, 35; in duration, 44;
in force, 50, 58, 82-87; in pitch,
90-95, 115; in quality, 126-149,
203-207, 265-267.

Emphasis, as influenced by rhymes,
120. See Accent, Force, Stress.
Enallage, 165.

End-cut words, 158.

End-stopped lines, 41.

English, Metrical possibilities of, 30.
Enthusiasm, how represented, 72,

128.

Enoch Arden, 272.

Epigram, Pope, 239.

Epilogue, Browning, 132; Swin-
burne, 87, 146.

Epistle, An, 310; to Arbuthnot,

341.

Epistles of Horace, 341.

Essay on Criticism, 44, 55, 341; on
Man, 120, 340, 341; on Satire,

156.

Evangeline, 76, 114, 271, 272.
Evelyn Hope, 73.

Evening on the Broads, 311, 317.
Everett, E., 299

Fanny, To, 331.
Farewell, A., 324.
Farrer, 6.

Feeling, how represented, 12-18,
35; how different kinds repre-
resented, 127-149. See Emotive.
Feet, Eng. and classic, how pro-
duced, 28; classification of Eng-
lish, 60. See Measures.
Felise, 144.

Ferdinando and Elvira, 41, 52, 114.
Festus, 2, 346.

Figurative language, 195-207, 228;
when to be used, 206, 265; when
poetic and representative, and
when not so, 208-212, 293-318.
See Indirect and Illustrative Rep-
resentation.

Figures of rhetoric, not always rep-
resentative, 195-197, 265; when
representative, 197–200.
First Kiss, 105.
Fishermen, The, 327.
Fisher's Cottage, 221.

Flower in Crannied Wall, 344.
Force, elocutionary, 33, 50; what
it represents, 34, 35; its kinds,
50; degrees of, in elocution and
poetry, 51-56; gradations of, 57-
81; regularity of, 82-88; signifi-
cance of metres determined by
it, 57-81.

Form in words and sentences, 320;
in poems, 322-341; when mod-
elled on direct representation, 323;
on illustrative representation, 327.
Fra Lippo Lippi, 311.

French language, 24, 191, 192.
Fright, how represented, 127-149.
Front-cut in words, 158.
Frothingham, 48.

Gardener's Daughter, 43, 287, 291.
Garden of Cymodoce, 116.

Gathering Song, 71.
Gentle Alice Brown, 99.
Gerhardt, 79.

Gilbert, 30, 41, 52, 78, 94, 114, 160,

223.

Glimpses of the War, 311.

Glorious things of thee are spoken,
65.

Goethe, 48, 124, 194, 248, 302,

335.

Golden Legend, 63.
Golden Year, 283.

Goldsmith, 27, 101, 121, 184.
Good Old Plow, 76.
Goose, Mother, 29.
Gougaune Barra, 69.

Go where glory waits thee, 62.
Greek, development of its poetic
forms, 22; direct representation
in tragedies, 267; how accents
pronounced in reading verse, 107;
metres, 29, 30, 60-81. See Clas-
sic and Homer.

Grief, metre representing, 73. See
Pathos.

Growth of the legend, 307.
Guest, 45, 137.

Guttural, meaning of, elocutionary
and poetic, 127-149.

Gradation, 116. See Force and

Stress.

Gray, 42, 137, 144.
Grant, 86.

Halcro's verses, 85.

Hamilton, Sir W., 279.
Hamlet, 207, 219, 290, 313.
Hammond, 117.
Harrington, 216.
Hawtrey, 49.
Heine, 220.
Hegel, 17.
Helmholtz, 98.

Henry VIII., 27, 41; 1 Henry IV.,
83, 143, 207, 291; 2 Henry IV.,
138; Henry V., 166, 167; 2
Henry VI., 142, 236; 3 Henry
VI., 234.
Heretic's Tragedy, 131.
Herder, 7.

Hermann and Dorothea, 48, 248.
Herrick, III.

Hesitation, in sense of doubt, 92,
113, 123.

Heyse, 10.

Heywood, 167.

Hexameter, Classic and English, 47,
76.

Hiawatha, 63, 166.

High tide, 167.

History English Rhythms, 45, 137.
Hogg, 100.

Holmes, O. W., 3.

Holy Cross Day, 9, 148.
Home, 259, 288.

Homer, 46, 47, 155, 193, 205, 207,
216, 217, 232, 235, 236, 240-261,
284, 294; his representative
methods, 240-261.
Homeric verse, 21.
Horror. See Awe.

Hood, 72, 76, 114, 131.
Hope. See Anticipation.

How they brought the good news,
9, 46, 110.

Hugo, 236.

Humboldt, W. von, 248.
Hunt, L., 78, 215.
Hunting song, 51.

Hymn on the Nativity, 159, 168.

Hyperbaton, 154.
Hyperbole, 200.
Hyperion 155.

Iambic, or Iambus, 60, 67.
Idyls of King, 87, 236.
Iliad, Bryant's translation, 205, 207,
217, 232, 236, 242, 246, 247, 251- |
256, 259, 260, 294; Hawtrey's
49; Pope's 42, 54.

Illustrations, why used, 206, 226,
265, 290; when not representa-
tive, 293-318. See Figurative Lan-
guage, and Representation, Illus-
trative and Indirect.

I love my Jean, 222.
Il Penseroso, 55, 144.
Imagery, 196.

Imitative principle, in forming lan-
guage, 7-11; in elocution, 34;
in elocutionary duration, 37-49;
force, 51-56; accent and metre,

Ingelow, J., 156, 159, 163, 166, 167.
Ingoldsby Legends, 100.

In Memoriam, III, 123.
Insertion of useless words, 152.
Instinctive tendency, in character,
14; in elocution, 35; in ejacula-
tory expression, 14-17; in forming
through association words from
sounds, 5; new words from old
words, 175; in making represen-
tation direct, 230; representing
what in duration, 37, in force, 50,
58-68, 82; in pitch, 90-93; in
quality, 127.
Interjection, 196.
Interrogation, 196.

Intonations, representative charac-
ter of, 19, 88-125; physical rea-
son for, 20.

Inversion of words, 154.
Irony, 196.

Is there for honest poverty, 158.

Landor, Song for Centenary of, 317.
Lanier, 93.

Language, plain and figurative, 195-
207; poetry an artistic develop-
ment of, 4; how it represents
thought in single words, 4-11;
and processes of thought in succes-
sive words, 12, 180-185, 320-333.
Latin. See Classic.

Lear, King, 139, 141, 146, 307.
Le Byron de nos Jours, 163.
Leland, 221.

Lessing, 251.

Letter from Italy, 203; Letters, 83.
Lewis, 100.

Life Drama, 199, 230, 274, 275.
Line, length of exhalation, 25-27;
end of, representing what when
accented and unaccented, 104-125;
when masculine or feminine, 104-
114, 118-125; end-stopped and
run-on lines, 41; inartistic end-
ings, 40; rhyme and blank verse,
118-125.

Little Mattie, 40.
Lochinvar, 39, 46, 110.
Lockhart, 75.

Locksley Hall, 40, 85, 112, 203,
282, 313.

Longfellow, 31, 47, 63, 76, 79, 86,
III, 114, 152, 157, 166, 229, 231,
271, 338, 339.

Lord of Burleigh, 154.

Lord of the Isles, 153.

Lost Love, The, 121.
Lotus Eaters, 55, 284.
Loudness,

how represented in

poetry, 51-55.
Louse on Lady's Bonnet, 224.
Love divine all loves excelling, 119.
Lover's Journey, 286.

Lovers of Gudrun, 232, 248.

Love's Labor Lost, 117, 191.
Love's Philosophy, 85.

Lowell, 79, 160, 303, 307.

Lute Song, 116.

Lytton 86, 244.

MacDonald, 153.

Macgregor's Gathering, 76.
Machiavelli, 14.

Mad Dog, Elegy on, 121.
Madoc in Wales, 285.
Mahogany tree, 83.
Mahony, F., 85, 112.
Maniac, 100.

Manly Heart, 159.

Man who never laughed again, The
154, 159.

Marino Faliero, 130.
Marmion, 110, 145.
Martineau, J., 299.

Massey, G., 53, 159, 163, 311, 315,

317.

Master Hugues, 114.

Maud, 39, 54, 66, 129, 130, 238.
McMaster, 141.

Meanings of elocutionary and poetic
forms, 32-149; duration, 37-50;
force, 50-88; inflections, melody,
pitch, tunes of verse, 89-125;
the different poetic metres, 41-49,
60-68; of words as developed by
association and comparison, in
sounds, 4-9, 126-149, 150-172;
in phrases, 164, 180-185; in
spiritual as contrasted with ma-
terial applications, 176, 228.
Measures, blending of different, to

prevent monotony, 75; to repre-
sent movements, 38-49, 79-88;
classification of English, and their
classic analogues, what each rep-
resents, 58-81; compound, 61,
71; di-initial, 61, 77; di-terminal,
61, 77; double, 60, 62-67; initial,
60, 62, 70; median, 60, 68; pa-
thetic, 72, 73; quadruple, 49, 61,
77; terminal, 60, 65, 74; triple,
46-49, 60, 68-81.

Melody, elocutionary, musical, and
poetic, 90-125.

Mercenary Marriage, A, 207.
Merkel, 98.

Merman, The, 132.

Metaphor, 199, 235-239; ancient
and modern, 235; faults in, 200,
293-318; metaphorical representa-
tion, 228.
Metonomy, 197.