INDEX
- Abortion, once practised, 354.
- Absolute, the, a fiction, 101.
- Abyssian Church, dancing in worship of, 45.
- Acting, music, and poetry, proceed in one stream, 36.
- Adam, Villiers de l’Isle, his story Le Secret de l’ancienne Musique, 25.
- Addison, Joseph, his style, 161-63, 184.
- Adler, Dr. Alfred, of Vienna, 336, 337.
- Adolescence, idealisation in, 107, 108.
- Æschylus, developed technique of dancing, 56.
- Æsthetic contemplation, 314, 315, 325, 326;
- recognised by the Greeks, 330, 331;
- two kinds of, that of spectator and that of participator, 331, 332;
- the Shaftesbury attitude toward, 332, 333;
- the Swift attitude toward, 333;
- involves life as a spectacle, 333, 334;
- and the systems of Gaultier and Russell, 343;
- engenders neither hatred nor envy, 346.
- Æsthetic instinct, to replace moralities, religions, and laws, 340, 341, 343-45;
- Æsthetic intuitionism, 260, 276, 279, 314.
- Æsthetic sense, development of, indispensable for civilisation, 345;
- Æsthetics, and ethics, among the Greeks, 247;
- Africa, love-dance in, 46, 49, 50.
- Akhenaten, 28.
- Alaro, in Mallorca, dancing in church at, 44, 45.
- Alberti, Leo, vast-ranging ideas of, 5.
- Alcohol, consumption of, as test of civilisation, 295, 296.
- Anatomy, studied by Leonardo da Vinci, 120.
- Anaximander, 89.
- Ancestry, the force of, in handwriting, 157, 158;
- Anna, Empress, 59.
- Antisthenes, 249 n.
- “Appearance,” 219 n.
- Aquinas, Saint Thomas, 202.
- Arabs, dancing among, 38.
- Arbuckle, one of the founders of æsthetics, 271;
- insisted on imagination as formative of character, 272.
- Architecture. See Building.
- Aristophanes, 311.
- Aristotle, 89;
- Art, life as, more difficult to realise than to act, 1, 2;
- universe conceived as work of, by the primitive philosopher, 1;
- life as, views of finest thinkers of China and Greece on, 2-6, 247-52;
- whole conception of, has been narrowed and debased, 6, 7;
- in its proper sense, 7, 8;
- as the desire for beautification, 8;
- of living, has been decadent during the last two thousand years, 8 n.;
- Napoleon in the sphere of, 10;
- of living, the Lifuan, 13-18;
- of living, the Chinese, 27;
- Chinese civilisation shows that human life is, 30;
- of living, T’ung’s story the embodiment of the Chinese symbol of, 33;
- life identical with, 33-35;
- of dancing, 36, 51-67, see Dancing;
- of life, a dance, 66, 67;
- science and, no distinction between, in classic times, 68;
- science and, distinction between, in modern times, 68-70;
- science is of the nature of, 71;
- represented by Pythagoras as source of science, 74;
- Greek, 76 n.;
- of thinking, 68-140, see Thinking;
- the solution of the conflicts of philosophy in, 82, 83;
- philosophy and, close relationship of, 83-85;
- impulse of, transformed sexual instinct, 108-12;
- and mathematics, 138-40;
- of writing, 141-190, see Writing;
- Man added to Nature, is the task in, 153;
- the freedom and the easiness of, do not necessarily go together, 182;
- of religion, 191-243, see Religion;
- of morals, 244-84, see Morals;
- the critic of, a critic of life, 269;
- civilisation is an, 301, 310;
- consideration of the question of the definition of, 310-12;
- Nature and, 312, 313;
- the sum of the active energies of mankind, 313;
- and æsthetics, the unlikeness of, 314, 315, 325-28;
- a genus, of which morals is a species, 316;
- each, has its own morality, 318;
- to assert that it gives pleasure a feeble conclusion, 319;
- on the uselessness of, according to Schopenhauer and others, 319-21;
- meaninglessness of the statement that it is useless, 322;
- sociological function of, 323, 324;
- philosophers have failed to see that it has a morality of its own, 324, 325;
- for art’s sake, 346, 347.
- 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.;
- “Arty” people, 6, 7.
- “As if,” germs of doctrine of, in Kant, 87;
- Asceticism, has nothing to do with normal religion, 222, 223;
- Asclepios, the cult of, 197 n.
- Atavism, in handwriting, 157, 158;
- 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;
- Australians, religious dances among, 40.
- Auto-erotic activities, 110, 111.
- Axioms, akin to fiction, 94, 95.
- Babies, 105.
- Bach, Sebastian, 62, 311.
- Bacon, Francis, his definition of the artist, Man added to Nature, 153;
- 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;
- Bantu, the question of the, 38, 45.
- Baptism, 242.
- “Barbarians,” the classic use of the term, 285.
- Barebones, Praise-God, 272.
- Baretti, G. M., 50.
- Bastien-Lepage, Jules, 311.
- 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;
- Bee, the, an artist, 312.
- Beethoven, 311;
- Beggary in China, 31.
- Benn, A. W., his The Greek Philosophers, 6, 252, 277 n.
- Bentham, Jeremy, adopted a fiction for his system, 99.
- Berenson, Bernhard, critic of art, 114;
- Bergson, Henri Louis, pyrotechnical allusions frequent in, 23;
- 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.
- Birth-rate, as test of civilisation, 294, 296, 299 n.
- “Bitter,” a moral quality, 264.
- 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.
- Bouguereau, G. A., 315 n.
- Bovarism, explanation of, 335;
- 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.
- Bury, J. B., 287 n.
- 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;
- 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.
- Casuistry, 304 n., 305.
- Categories, are fictions, 94.
- Cathedrals, dancing in, 44, 45.
- Ceremony, Chinese, 22, 29;
- and music, Chinese life regulated by, 24-26.
- Cézanne, artist, 153, 315 n.
- 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;
- 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;
- 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.
- Colour-words, 164 n.
- 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.
- Confucius, consults Lao-tze, 25, 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.;
- 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;
- 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.
- D’Annunzio, Gabriele, 178.
- Danse du ventre, the, 49 n.
- Dante, 311, 349;
- Darwin, Charles, 88;
- 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;
- 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;
- Diderot, Denis, wide-ranging interests of, 5;
- translated Shaftesbury, 268.
- “Dieta Salutis,” the, 43.
- Discipline, definition of a, 71 n.
- “Divine command,” the, 255.
- “Divine malice,” of Nietzsche, 155 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.
- Dostoievsky, F. M., 311, 349;
- 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.;
- Duty, 275, 276.
- Easter, dancing of priests at, 44.
- Eckhart, Meister, 234, 336.
- Education, importance of dancing in, 64, 65;
- Egypt, ancient, dancing in, 42;
- 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;
- 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;
- Enjoyment, without possession, 343-46.
- Epictetus, 249 n.
- Epicurus, 207.
- 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;
- Eusebius, on the worship of the Therapeuts, 42.
- Evans, Sir Arthur, 112.
- Evolution, theory of, 88, 104;
- 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;
- Ferrero, Guglielmo, on the art impulse and the sexual instinct, 109.
- Fiction, germs of doctrine of, in Kant, 87;
- Fictions, the variety of, 94-100;
- Fiji, dancing at, 49.
- Fijians, the, 13 n.
- Fine arts, the, 70;
- 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.;
- Frobisher, Sir Martin, his spelling, 173, 174.
- Galen, 120.
- Galton, Francis, a man of science and an artist, 126-28;
- 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;
- 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.
- God, a fiction, 100, 337.
- 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.
- Gomperz, Theodor, his Greek Thinkers, 4, 5, 6 n.; 75, 78.
- 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;
- Gorgias, 302.
- Gourmont, Remy de, 65;
- Government, as art, 3.
- Grace, an element of style in writing, 155, 156.
- Grammar, Protagoras the initiator of modern, 4;
- 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 dancing, 55, 56, 60.
- Greek drama, 55, 56, 78.
- 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;
- 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;
- Hang-Chau, 20.
- Hardy, Thomas, his lyrics, 170 n.;
- Hawaii, dancing in, 51.
- Hawthorne, Nathaniel, his style, 161.
- Hebrews, their conception of the fashioning of the universe, 1;
- Hegel, G. W. F., 90;
- 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;
- Hincks, Marcella Azra, on the art of dancing in Japan, 42 n.
- Hindu dance, 41.
- Hinton, James, on thinking as an art, 86 n.;
- Hippias, 302;
- 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;
- 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;
- “Hymn of Jesus,” the, 42.
- Hypothesis, dogma, and fiction, 98, 99.
- I and me, 147.
- Idealisation, in adolescence, 107, 108.
- Idealism, 83.
- Idealists, 70, 341 n.
- Ideals, are fictions, 100.
- Imagination, a constitutive part of thinking, 102;
- 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.
- Infanticide, 255, 354.
- 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;
- Instincts, 234, 235.
- Intelligence, the sphere of, 233, 234.
- Intuition, the starting point of science, 137;
- Intuitionism, æsthetic, 260, 276, 279, 314.
- 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;
- 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;
- Johnston, Sir H. H., on the dancing of the Pygmies, 51.
- Jones, Dr. Bence, biographer of Faraday, 130.
- Jonson, Ben, 184.
- Joyce, James, 172, 184;
- Kant, Immanuel, 89;
- 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.
- “Knowing,” analysis of, 70, 71.
- Kolbe, Rev. Dr., illustrates æsthetic view of morals, 276 n.
- Lamb, Charles, 184.
- Landor, W. S., 149;
- Lange, F. A., his The History of Materialism, 73 n., 83;
- Language, critics of present-day, 141-51;
- Languages, the Yo-heave-ho theory of, 61.
- Lankester, Sir E. Ray, 70.
- Lao-tze, and Confucius, 25, 26;
- Law, a restraint placed upon the possessive instinct, 339, 340;
- Laycock, on handwriting, 158 n.
- Leibnitz, Baron S. W. von, 6 n.;
- “L’Esprit Nouveau,” 179.
- 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;
- Loret, on dancing, 54 n.
- Love, dancing the primitive expression of, 37, 45;
- curiosity one of the main elements of, 112.
- Love-dance, 45-51.
- Loyalty Islands, the, customs of the natives of, 13-18.
- Lucian, 353 n.;
- 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;
- 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.
- Materialism, 97, 230.
- Materialistic, the term, 229.
- Mathematical Renaissance, the, 69.
- Mathematics, false ideas in, 94, 95;
- and art, 138-40.
- Matter, a fiction, 97, 229, 338;
- Maupassant, Guy de, 311.
- McDougall, William, accepts magic as origin of science, 195;
- 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.
- Medicine-man, the, 192-95.
- Meh-ti, Chinese philosopher, 26, 27.
- Men, of to-day and of former days, their comparative height, 142.
- “Men of science,” 125, 126.
- See Scientist.
- 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;
- 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.
- Morgagni, G. B., 300.
- Morris, William, 350 n.
- Moses, 253, 282.
- 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.
- Morisco, the, 49 n.
- 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;
- 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;
- Neo-Platonists, the, 237;
- asceticism in, 249 n.
- Nests, birds’, and dancing, 36 n.
- Newell, W. W., 41 n.
- Newman, Cardinal J. H., the music of his style, 164.
- Newton, Sir Isaac, his wonderful imagination, 72;
- 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.
- Omahas, the, 46.
- Onions, C. T., 146 n.
- 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;
- Pain, and pleasure, united, 278.
- Painting, Chinese, 29, 32;
- 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.;
- 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.
- Pell, E. C., on decreasing birth-rate, 294 n.
- 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;
- Philosophy, of the Chinese, 32;
- 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;
- Poetry, Chinese, 21, 22, 29, 32;
- 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 impulses, 306, 307, 341-43.
- Possessive instinct, restraints placed upon, 338-40;
- 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.
- Pragmatists, the, 93, 231, 232.
- Precious stones, attitude of the poet toward, 169.
- Preposition, the post-habited, 146, 147, 162.
- Prettiness, and beauty, 315 n.
- Priest, cultivated science in form of magic, 195;
- 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;
- Proust, Marcel, 172, 184;
- Puberty, questions arising at time of, 105-07.
- Puritanism, reaction against, represented by Hutcheson, 271.
- Pygmalionism, 353 n.
- Pygmies, the dancing of the, 51.
- Pythagoras, represents the beginning of science, 73, 74;
- Quatelet, on social questions, 288.
- Quoting, by writers, 152.
- Rabbitism, 294.
- Rabelais, François, 148, 165, 358.
- 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.
- Realists, 70, 341 n.
- 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;
- Renan, J. E., his style, 161;
- “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;
- 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.
- Ruskin, John, 316;
- a God-intoxicated man, 316 n.
- Russell, Bertrand, on the Chinese, 23;
- 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.
- Salter, W. M., his Nietzsche the Thinker, 335 n.
- 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.;
- 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;
- Scientist, the true, an artist, 72, 73, 112, 126;
- 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.
- Semon, Professor, R., 351 n.
- “Sense,” Hutcheson’s conception of, 274.
- Seville, cathedral of, dancing in, 44.
- Sex, instinct of, a reaction to the stimulus of curiosity, 104;
- 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;
- Sharp, F. C., on Hutcheson, 327 n.
- 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;
- Smith, Arthur H., his book Chinese Characteristics, 23 n.
- Social capillarity, 298.
- Social ladder, 298, 299.
- Social statistics, 286-88.
- Socialists, French, inspired by Shaftesbury, 269.
- Socrates, the Platonic, 75, 78;
- Solidarity, socialistic, among the Chinese, 26, 27.
- Solmi, Vincian scholar, 114.
- Sophists, the, 4, 302, 302 n.
- Sophocles, danced in his own dramas, 56;
- Soul, a fiction, 100;
- South Sea Islands, dancing in, 49.
- Space, absolute, a fiction, 95.
- Spain, dancing in, 44, 50, 54.
- Speech, the best literary prose, 155;
- Spelling, and thinking, 127 n.;
- Spencer, Herbert, on science and art, 68;
- Spengler, Dr. Oswald, on the development of music, 135 n.;
- Spinoza, Baruch, 89;
- Spirit, and matter, 229, 230.
- Statistics, uncertainty of, 286;
- Steele, Dr. John, on the Chinese ceremonial, 29 n.
- Stephen, Sir Leslie, on poetry and philosophy, 85;
- could see no good in Shaftesbury, 268.
- Stevenson, R. L., 188.
- Stocks, eradication of unfit, by Man, 354;
- 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;
- Swimming-belt, constructed by Leonardo da Vinci, 119.
- Swinburne, C. A., on writing poetry to a tune, 62;
- 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.
- Telegraph, the, 72 n.
- Telephone, the, 72 n.
- Tell-el-Amarna, 28.
- Theology, 227.
- Therapeuts, the worship of, 42.
- Thing-in-Itself, the, a fiction, 101.
- Things, are fictions, 98.
- Thinking, of the nature of art, 85, 86;
- 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;
- 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;
- 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;
- 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;
- 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.