[403]I presume this is the meaning ofunserer eigenen Geliebten, but from the example given of Petrarch's Laura one would rather have expected that it was the poet's beloved whose name was not given. In any case the sense is rather obscure.
[403]I presume this is the meaning ofunserer eigenen Geliebten, but from the example given of Petrarch's Laura one would rather have expected that it was the poet's beloved whose name was not given. In any case the sense is rather obscure.
[404]I think it must be admitted that Hegel goes too far in the other extreme. The best tendency of our times is to reproduce Shakespeare as near to the best authenticated text as possible. No doubt our adaptation of French plays is in a certain sense an illustration of Hegel's contention; but generally it is recognized that where a work is great, as for example in the case of our Greek plays, it is far better to let them speak for themselves, and attempt no botching.
[404]I think it must be admitted that Hegel goes too far in the other extreme. The best tendency of our times is to reproduce Shakespeare as near to the best authenticated text as possible. No doubt our adaptation of French plays is in a certain sense an illustration of Hegel's contention; but generally it is recognized that where a work is great, as for example in the case of our Greek plays, it is far better to let them speak for themselves, and attempt no botching.
[405]Schiller's play.
[405]Schiller's play.
[406]Schiefheiten, errors that divert truth from its path.
[406]Schiefheiten, errors that divert truth from its path.
[407]We should rather have expectedErhaltthanGehalthere.Gehaltmeans, therefore, the essential part of the entire manifestation.
[407]We should rather have expectedErhaltthanGehalthere.Gehaltmeans, therefore, the essential part of the entire manifestation.
[408]Durch all das anderweitige Getriebe,i.e., through all that is otherwise mechanical.
[408]Durch all das anderweitige Getriebe,i.e., through all that is otherwise mechanical.
[409]I am not certain whether there is a definite allusion here to anything in particular, or whether the Egyptian is taken to signify any folk outside Western culture, with possibly some subtle suggestion of those who held the favoured people in bondage, Philistines in short.
[409]I am not certain whether there is a definite allusion here to anything in particular, or whether the Egyptian is taken to signify any folk outside Western culture, with possibly some subtle suggestion of those who held the favoured people in bondage, Philistines in short.
[410]Herausgeboren ist, cast forth, that is to say, as the natural growth of it—as Minerva from the head of Zeus.
[410]Herausgeboren ist, cast forth, that is to say, as the natural growth of it—as Minerva from the head of Zeus.
[411]Imagination appears to me the best translation ofPhantasie.Our English word, however, seems rather to lie between it andVorstellung. Practically Hegel means here what we mean when we distinguish it from fancy (Einbildungskraft), though in Ruskin's original and most suggestive analysis of the terms, "fancy" of course implied a limited power of creative activity or at least associative activity.
[411]Imagination appears to me the best translation ofPhantasie.Our English word, however, seems rather to lie between it andVorstellung. Practically Hegel means here what we mean when we distinguish it from fancy (Einbildungskraft), though in Ruskin's original and most suggestive analysis of the terms, "fancy" of course implied a limited power of creative activity or at least associative activity.
[412]Leichtfertigkeit der Phantasie,i.e., a careless facility of imaginative activity.
[412]Leichtfertigkeit der Phantasie,i.e., a careless facility of imaginative activity.
[413]It must not be overlooked, however, that, especially in the arts of music and painting, genius may have reached maturity at a very early period, as was the case with Mozart, Rafael, and many another.
[413]It must not be overlooked, however, that, especially in the arts of music and painting, genius may have reached maturity at a very early period, as was the case with Mozart, Rafael, and many another.
[414]Ganz vereinzelten Seite.It is a little strange to find such an expression applied to the arts of violin-playing or singing. But the emphasis is not so much on the art as a whole as to the technical aspect of execution.
[414]Ganz vereinzelten Seite.It is a little strange to find such an expression applied to the arts of violin-playing or singing. But the emphasis is not so much on the art as a whole as to the technical aspect of execution.
[415]Anlage, lit., a laying to, an impulse in a certain direction.
[415]Anlage, lit., a laying to, an impulse in a certain direction.
[416]This statement is rather surprising from a fellow countryman of Bach, Handel, Mozart, etc., down to Wagner and Strauss. The explanation appearsfirstto be due to the distinction between a national impulse toward popular singing which the Italian no doubt possesses, and a deep-rooted emotional life which finally discovers its supreme mode of expression in the art of instrumental music as developed by the Teuton stock.Secondly, it is quite clear, I think, from Hegel's correspondence that he had no real sympathy for orchestral music though an enthusiastic admirer of opera, particularly Italian opera.
[416]This statement is rather surprising from a fellow countryman of Bach, Handel, Mozart, etc., down to Wagner and Strauss. The explanation appearsfirstto be due to the distinction between a national impulse toward popular singing which the Italian no doubt possesses, and a deep-rooted emotional life which finally discovers its supreme mode of expression in the art of instrumental music as developed by the Teuton stock.Secondly, it is quite clear, I think, from Hegel's correspondence that he had no real sympathy for orchestral music though an enthusiastic admirer of opera, particularly Italian opera.
[417]The other two aspects were: (a) That genius is a spiritual activity and in its operation offers a contrast to talent, where the personal initiative is not so prominent, (b) It has a certain aspect which may be called innate.
[417]The other two aspects were: (a) That genius is a spiritual activity and in its operation offers a contrast to talent, where the personal initiative is not so prominent, (b) It has a certain aspect which may be called innate.
[418]It is a little surprising to find Hegel tracing technical accomplishment to the native gift. At least all technical accomplishment has to be learned.
[418]It is a little surprising to find Hegel tracing technical accomplishment to the native gift. At least all technical accomplishment has to be learned.
[419]This is the real point. Whatever ignoramuses may say of the "shackles" of verse poets know only too well that they supply a supreme stimulus to imaginative powers both in virtue of the atmosphere of music into which they are thus carried and the suggestiveness of the words themselves. What Hegel's analysis appears rather to fail in is his perception of the unconscious work in the greatest men when working in most inspired moments whether in painting or poetry—the extraordinary power of their intuition.
[419]This is the real point. Whatever ignoramuses may say of the "shackles" of verse poets know only too well that they supply a supreme stimulus to imaginative powers both in virtue of the atmosphere of music into which they are thus carried and the suggestiveness of the words themselves. What Hegel's analysis appears rather to fail in is his perception of the unconscious work in the greatest men when working in most inspired moments whether in painting or poetry—the extraordinary power of their intuition.
[420]No doubt Hegel does not use our word "inspiration" in quite the sense it is usually used, and I should have said even less so the German word. At the same time we do apply the word inspiration to the technical execution and most justly where it is used as a distinction.
[420]No doubt Hegel does not use our word "inspiration" in quite the sense it is usually used, and I should have said even less so the German word. At the same time we do apply the word inspiration to the technical execution and most justly where it is used as a distinction.
[421]Meredith in a letter to a correspondent expresses the same conviction. He even adds that he thinks Schiller's compositions were by no means improved by artificial stimulants.
[421]Meredith in a letter to a correspondent expresses the same conviction. He even adds that he thinks Schiller's compositions were by no means improved by artificial stimulants.
[422]The Germans say, a song which "rings straight from the throat,"der aus der Kehle dringt.
[422]The Germans say, a song which "rings straight from the throat,"der aus der Kehle dringt.
[423]Welche zum Begriff des Talente gehört.Talent no doubt to some extent includes genius here, but mainly in its aspect of productive power.
[423]Welche zum Begriff des Talente gehört.Talent no doubt to some extent includes genius here, but mainly in its aspect of productive power.
[424]I do not know the composition and cannot make much of the quotations. For all I knowTamboure-gesellenmay be the drummer-boy himself.
[424]I do not know the composition and cannot make much of the quotations. For all I knowTamboure-gesellenmay be the drummer-boy himself.
[425]This translation may pass perhaps:"This little nosegay plucked by meA thousand times may it greet thee!How many thousand times have IBowed over it; how many timesPressed it to heart; how many times!"
[425]This translation may pass perhaps:
"This little nosegay plucked by meA thousand times may it greet thee!How many thousand times have IBowed over it; how many timesPressed it to heart; how many times!"
[426]Or, as Hegel puts it, "thathe is not."
[426]Or, as Hegel puts it, "thathe is not."
[427]We should rather say a personal or individual manner perhaps.
[427]We should rather say a personal or individual manner perhaps.
[428]I have translatedZufälligenhere with the words "he shares with no one else." The suggestion is that there is no warrant or principle to support them.
[428]I have translatedZufälligenhere with the words "he shares with no one else." The suggestion is that there is no warrant or principle to support them.
[429]It is rather surprising to find Hegel including music here rather than sculpture or architecture, especially the latter, which seems peculiarly adapted to illustrate what I understand to be his general point of view. His own illustrations throw no light on the matter as they are borrowed from painting or poetry.
[429]It is rather surprising to find Hegel including music here rather than sculpture or architecture, especially the latter, which seems peculiarly adapted to illustrate what I understand to be his general point of view. His own illustrations throw no light on the matter as they are borrowed from painting or poetry.
[430]I presume the difference here alluded to is such as we may see if we contrast the tone of a Correggio, for instance, with that of a Titian or a Rembrandt.
[430]I presume the difference here alluded to is such as we may see if we contrast the tone of a Correggio, for instance, with that of a Titian or a Rembrandt.
[431]Er hat ihn sich angeeignet.Lack of artistic power is the main factor in an artificial style. Though there are doubtless many examples of men forced to paint in a way much below their true powers to obtain a living. But it must be admitted Hegel does not express himself very clearly. Individuality of handling is essential to a great master. The real point is that it should not crystallize into amerehabit, as in the Bologna school of painters.
[431]Er hat ihn sich angeeignet.Lack of artistic power is the main factor in an artificial style. Though there are doubtless many examples of men forced to paint in a way much below their true powers to obtain a living. But it must be admitted Hegel does not express himself very clearly. Individuality of handling is essential to a great master. The real point is that it should not crystallize into amerehabit, as in the Bologna school of painters.
[432]"Artificial" would perhaps come closer to the mark.
[432]"Artificial" would perhaps come closer to the mark.
[433]In sich selbst zu erweitern.The phrase at once suggests by contrast that expression so frequently used by painters of "tightness," incapacity to enlarge, which is such a characteristic of artificial handling, and indeed of most academic work, and so frequently gives to the original sketch of an artist a greater artistic value than to the highly finished work.
[433]In sich selbst zu erweitern.The phrase at once suggests by contrast that expression so frequently used by painters of "tightness," incapacity to enlarge, which is such a characteristic of artificial handling, and indeed of most academic work, and so frequently gives to the original sketch of an artist a greater artistic value than to the highly finished work.
[434]In der subjektiven Begeistrung.
[434]In der subjektiven Begeistrung.
[435]The chamber at Wetzlar.
[435]The chamber at Wetzlar.
[436]Elective Affinities.
[436]Elective Affinities.
INDEXAccompaniment, Music as, iii, 377-379,413-418; of human voice, iii, 383.Aeschylus, reference to the "Agamemnon," i,285;to the "Eumenides," i,302,303,372;ii, 213-215, 223; iv, 306, 324;to the "Coephorae," and the "Seven before Thebes,"iv, 318; change of scene in his dramas, iv, 257;universal powers in dramas, i,377; char acterof Clytemnaestra, ii, 345.Aesop, Fables of, ii, 115.Anacreon, odes of, iv, 203, 233.Aphrodite, description of, iii, 185.Architecture, types of classical, iii, 80-90;Roman, iii, 87-88; Gothic, iii, 91-104;Byzantine, iii, 105.Aristophanes, subject-matter of his comedies,iv, 277, 283, 304, 329; himself an actor,iv, 286; his "Ecclesiazusae," iv, 303.Aristotle, reference to the "Poetics," i,19;on tragedy, i,283; on use of simile, ii, 143;proper subject of tragedy, iv, 131;on unities of time and place, iv, 256.Artist, as executant, iii, 426-430.Athene, nature of as goddess of Athens, iv, 325.Bach, J. S., supreme master of ecclesiasticalmusic, iii, 419.Beethoven, L. van, soul-release in art's freedom,iii, 349; symphonies of, iii, 355 n.Bosanquet, B., references to translation ofHegel's Introduction by in present translator'snotes, i,28,29,31,32,37,40,45,52,65,66,68,69,71,73,76,88,93,96,100,108,109,116,181.Bradley, A. C., reference to Lectures on Poetry, i,265n.Bradley, F. H., i,73,96n.Brahman, supreme godhead in Hindu theosophy, ii, 50-61, 91.Calderon, quotation from, ii, 142; comparisons of, ii, 149.Camoens, the "Lysiad" of, iv, 190.Cervantes, type of comedy in "Don Quixote," i,262; ii, 374;dissolution of chivalry as depicted by Cervantes andAriosto, ii, 373.Chivalry, general description of, iv, 185-187.Chorus, Greek, nature of, iv, 315-317.Cid, the Spanish poem of the,description of, iv, 182;heroic personality of the, ii, 348; iv, 138-140;nature of collision in, i,321.Columns, Greek, iii, 69-76; orders of, iii, 82-85;on the Greek temple generally, iii, 79.Creutzer, his work on symbolism, iii, 17, 18;affinity of Egyptian and Hellenic art on coins, iii, 203.See also ii, 138; iii, 39, 41.Cuvier, analytical power of, i,176.Dante, conciseness of, i,350; allegory in, ii, 19;on the love of Beatrice, iii, 340;description of the damned, iii, 319;the "Divine Comedy" contrasted with "Æneid" and"Odyssey" as epical narrative, iv, 163;general description of "Divine Comedy," iv, 184.Denner, realistic portraits of, iii, 270.Destiny, supreme significance of in Epos, iv, 144;fate in tragedy, iv, 312, 322; as necessity, iv, 254.See also particularly as to Greek art, ii, 261-264.Drapery. See under Sculpture.Dutch School, description of, i,228-230; ii, 382-386;iii, 334-337; landscape in art of, i, 397;colouring of, iii, 276.Einbildungskraft, meaning of as distinct from Phantasieand Vorstellung, i,55n.,62n.,381n.Euripides, the "Alcestis" of, i,275;treatment of love in the Phedra, iii, 340;transition of drama of to sentimental pathos, iv, 321.Eyck, H. van, supreme concep tion of God the Father, iii, 252;his picture of the Madonna, iii, 255;his "Adoration," iii, 262;description of brothers Hubert and John, iii, 330.Ferdusi, "Shahrameh" of, i,251,277.Fichte, his position in history of Aesthetic Philosophy, i,89-91.Flesh-colour, nature of, in painting, iii, 285.Giotto, reforms of, in painting, iii, 322.Goethe, definition of the beautiful by, i,21,36-38,91;reference to his "Iphigeneia," i,262,304-306,373; iv, 307;to "Faust," iv, 333; to his Tasso, iv, 307;to "Hermann and Dorothea," i,256,353;to "Werther," i,271,321;to the "Bride of Corinth," ii, 270;to the "Westöstlicher Divan," i,372; ii, 96, 400; iv, 233;to "Dichtung und Wahrheit," iii, 289;to the "King of Thule," ii, 363; his "Mignon," iii, 298;his theory of colour, i,117n.;on the innate reason of nature, i,179;Goethe on Hamlet, i,307; ii, 364;his pathos contrasted with that of Schiller, i,313;rivalry of with Shakespeare, iv, 338;quotation from Goetz von Berlichengen, i,366;the ripeness of his maturity, i,384;on Gothic architecture, iii, 76;Xenien of, ii, 145; on harmonious colouring, iii, 283;supreme quality of folk-songs of, 386;songs of comradeship, iv, 205;prose in his dramas, iv, 71;imitation of Icelandic, iv, 208;as a Lyric poet generally, iv, 217.Greek art, origin of in freedom, ii, 183;content of, ii, 184-6;Gods of, ii, 224-228; iii, 183-186, 188;absence of the sublime in, ii, 237;incapable of repetition, iii, 396;Greek epigrams, ii, 398;character of dramatis personae in Greek art, iv, 317-320.Greek chorus. See under Chorus.Greek mysteries. See under Mysteries.Greek oracles. See under Oracles,Hafis, Lyrics of, iv, 237; quota tion from, ii, 94, 95, 147.Helmholtz, researches of in music, iii, 390 n.Herder, his conception of Folkslied, i,364.Herodotus, statement of as to Homer and Hesiod, ii, 190, 231;his account of temple of Belus, iii, 37;date of his history's commencement, iv, 39;on battle of Thermopylae, iv, 23;as general authority for Egyptian history and art,see vol. iii, ch. i.Hesiod, mythology of, ii, 63, 64, 167, 216;reference to his "Works and Days," iv, 108.Hindoos, architecture of, iii, 48-51; religion of, ii, 47-64.Hippel, humour of his "Life's Careers," ii, 365.Hirt, connoisseur, his emphasis on the characteristic, i,22-24;on origins of architecture, iii, 27;on Memnons, iii, 41;on the original materials of building, iii, 66.Homer, vividness of his characterization, i,225,235;the heroes of, i,250;starting-point of Iliad in wrath of Achilles, i,290;iv, 30, 156, 167; hero as focus of many traits, i,316;landscape in, i,341; iv, 123, 154;type of society in Iliad, i,352,377;whether personal experience of poet, i,357; iv, 122;his use of simile, ii, 154;quotations from the Iliad, ii, 154, 155;sacrifices in the Iliad, ii, 192;unity of Homeric god-world, ii, 219;human motives defined through god's action, ii, 234, 235;freedom of Greek gods in, ii, 239;individuality of gods in, ii, 242-258;poet later than the Trojan war, iv, 124.Horace, Ars Poetica of, i,19,69;artificial character of his Odes, iv, 229.Iffland, reference to, iv, 290, 344;superficial quality of, ii, 381.Immortality, contrast of conception in Paganand Christian thought, ii, 287-290.Irony, the views of Schlegel,Solger and Tieck on, i,90-94; iv, 271.Jacobi, the "Woldemar" of, i,322.Kant, Immanuel, relation of hisphilosophy to Philosophy ofAesthetik, i,78-84,149,154n.;on the sublime, iii, 86, 87.Klopstock, his rank as an Epic poet, iv, 150-152;his personality, iv, 216, 244, 245;partly artificial enthusiasm, iv, 229.Kotzebue, popular effects of, i,362;superficial rapidity of, ii, 381;bad composition of, iv, 290;ethical baseness of, iv, 304.Landscape gardening, i,332-333Laocoon, statue group, iii, 191.Lessing, his introduction of prose into drama, iv, 71;didactic drama of, iv, 277.Libretto, nature of good, iii, 355-357.Light, the nature of as an element, ii, 225-226.Longinus, his Essay on the Sublime, i,19.Lötze, See i,82n.Luther. See ii, 13.Memnons, iii, 41-43.Meredith, George, i,36n., 216 n.; ii, 339 n.; iv, 347 n.Michelangelo, his power to depict devils, iii, 307.See also, i,224n.; iii, 27 n.Molière, character of comedies of, iv, 345-347.Mozart, example of precocity, i,37n.;symphonies of, iii, 385;Libretto of his "Magic Flute," iii, 415;just mean of splendour in opera, iv, 291.Mysteries, Greek, ii, 221.Natural, the natural in art as distinct fromthe barbarous or childish, iii, 6-8;natural diction in Lessing,Goethe and Schiller, iv, 265-267.Oracles, Greek, ii, 205-208.Originality, nature of in art, i,394-405.Ossian, character of his heroes, i,343;similes of, ii, 151, 153;authorship of, iv, 146, 180. See also iv, 114, 127.Ovid, Metamorphoses of, ii, 126;similes of, ii, 152, 198.Pathos, nature of, i,308-325;pathos of drama, iv, 265;that of Goethe and Schiller compared, i,313.Pheidias, school of, i,235;materials used by, iii, 199;the plastic ideal of, iii, 133;Elgin marbles, iii, 138;the "Zeus" of, iii, 117, 184.Pindar, Odes of as occasional, i,271;his odes compared with elegiesof Callinus and Tyrtaeus, iv, 201;Pythian priestess on his merit, iv, 216;enthusiasm of, iv, 229;his creative gift, iv, 241.Plastic, personality, of Greeks, as Pericles,Pheidias and Sophocles, iii, 133.Plato, relation of his philosophyto the universal concept or notion, i,27,28,197;his relation to art generally, i,141;citation from, i,210; his use of simile, ii. 143.Portraiture, in painting, iii, 307-311.Praxiteles, iii, 190.Prometheus, ii, 209-215.Psalms, Hebrew, general character of, i,378;illustrate the sublime, ii, 102-104;iv, 226-228.Pyramids, the, iii, 55.Racine, the "Esther" of, i,361; his Phèdre, i,321.Ramajana, the, episodes from, ii, 51-53, 61.See also iv, 110, 112, 165, 175.Raphael, general references to, i,37,212,380,385;possesses "great" manner with Homer and Shakespeare, i,405;his Madonna pictures, iii, 227; cartoons of, iii, 242;mythological subjects, iii, 245;his "Sistine Madonna," iii, 255, 262, 304;his "School of Athens," iii, 254;vitality of drawings of, iii, 275;perfection of technique, iii, 328;translator's criticism on extreme praiseof Raphael and Correggio, iii, 329 n.Reni, Guido, sentimental mannerisms of, iii, 264.Richter, J. P., Kaleidoscopic effects of, i,402;sentimentalism of, ii, 365;humour of compared with Sterne's, ii, 387.Rösel, Author of "Diversions of Insect life," i,59.Rumohr, von, Author on Aesthetic Philosophy, i,148,232;on style, i,399; on Italian painters and in particular,Duccio, Cimabue, Giotto, Masaccio, Fra Angelico,Perugino, Raphael and Correggio, iii, 316-330.Ruskin, J., i,62n., 72 n., 230 n.Sachs, Hans, religious familiarity of, i,359.Satire, in Plautus and Terence, ii, 277; iv, 305;in Sallust and Tacitus, ii, 278;not successful in modern times, ii, 279;belongs to third type after tragicand comic drama, iv, 305.Schelling, Art Philosophy of, iii, 23 n.Schiller, rawness of early work, iii, 38;his "Letters on Aesthetic," i,84-86;quotation from, i,214;reference to "Braut von Messina," i,258;to "Kabale und Liebe," i,261; iv, 333;to Wallenstein," iv, 288;to the "Maid of Orleans," i,261; iv, 291, 339;extreme scenic effect of the latter drama, iv, 291;narrative too epical in same drama, iv, 161;reference to "Wilhelm Tell," i,379;pathos of Schiller, i,394;his use of metaphor, ii, 144;attitude to Christianity, ii, 268;profundity of, iii, 414;character of his songs, iv, 207, 239;his criticism of Goethe's Iphigeneia, iv, 275;leaves much to actor, iv, 288.Schlegel, F. von, Aesthetic theory of, i,87-89;art as allegory, ii, 134; statement of,that architecture is frozen music, iii, 65.Sculpture, drapery of, iii, 165-171;materials of, iii, 195-201; Egyptian, iii, 203-210;Etruscan, iii, 211; Christian, iii, 213;the Laocoon group, iii, 178-191; soul-suffering of, iii, 256.Shakespeare, William, materials of his dramas, i,255,324;reference to drama "Macbeth," i,277; to Lady Macbeth, i,324;to witches of "Macbeth," i,307; ii, 366;to "Macbeth," iv, 337, 341; to "Hamlet," ii, 378; iv, 334, 342;to "Othello," iv, 337; to "Falstaff," ii, 375;to tragedy of "Othello," i,283; to "King Lear," i,296;to "Romeo and Juliet," i,319; iv, 342; to "Richard III," iv, 341;the clowns of, i,320; the fool in "King Lear," ii, 375;quotations from "Richard II," ii, 141, 159;from "Romeo and Juliet," ii, 153; from "Henry IV," ii, 158;from "Henry VIII," ii, 159, 160; from "Julius Caesar," ii, 260;from "Macbeth," ii, 160; from "Anthony and Cleopatra," ii, 161;mythical material of dramas, i,351n.;his historical dramas, i,374;his use of metaphor, ii, 144, 156;the fidelity of Kent in "King Lear," ii, 346;self-consistency of characters, ii, 356-358; iv, 340;intelligence of vulgar characters, ii, 366, 375;subsidiary interest of part of material in dramas, iv, 260;vitality of characterization, iv, 274,and in particular, iv, 337; superiorityin modern comedy, iv, 348.Sophocles, reference to the "Philoctetes," i,275,301; iv, 306;to "Œdipus Rex," i,276; iv, 319;to the "Antigone," i,293; ii, 215; iv, 318;to "Œdipus Coloneus," ii, 503; iv, 319;to the "Electra," iv, 318; the choruses of, i,371;no unity of place in the "Ajax," iv, 257;quotation from "Œdipus Coloneus," ii, 222;treatment of love in the "Antigone," ii, 339;praise of the "Antigone" as work of art, iv, 324;the "Œdipus Coloneus" as a drama of reconciliation, iv, 325.Style, significant of vitality, iii, 9;the beautiful style, iii, 10;the great style, ii, 400;educated style of Roman poetry, iii, 11.Tasso, his "Jerusalem Liberated," iv, 141.See also iv, 132, 149, 159, 189,and for Goethe's play under head of Goethe.Thorwaldsen, the "Mercury" of, i,270.Tieck, novels of, ii, 167; and for both Tieckand Solger under "Irony."Van-Dyck, the portraiture of described, iii, 292.Velasquez, reference to Turner and Velasquez, i,336n.See also iii, 337 n.Vergil, artifice of V. and Horace, iv, 69;eclogues of compared with idylls of Theocritus, iv, 170.The "Æneid" as a national Epos, iv, 179.Versification, rhythmical of ancients discussed, iv, 81-84.That of rhyme compared, iv, 84-98.Vishnu, the Conserver of Life in Hindoo theosophy, iii, 52;second Deity in triune Trimûrtis with Brahman and Sivas, ii, 59.Voltaire, contrasted with Shakespeare, i,313;his "Henriad," iv, 132; his "Tancred" and "Mahomet," iv, 290.Watts, George, R.A., flesh colour of, i,337n.;relation to symbolism, ii, 27 n.Weber, his "Oberon" and "Freischütz," i,216.Winckelmann, on Greek sculpture,iii, 138, 150-155, 172-176, 182, 184;on Greek coins, iii, 181.Zend-Avesta, light-doctrine of, ii, 37-44; cultus of, ii, 44.