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;
compared to Aristophanes, 159 _n._;
too clumsy to ninfluence others, 184.
Carpenter, the, sacred position of, in some countries, 2.
Carr-Saunders, A. M., on the social ladder and the successful climbers,
299, 300;
on selecting the best stock of humanity, 354.
Cassirer, Ernest, on Goethe, 137 _n._
Castanets, 54.
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;
art animates the whole of life in, 27, 28;
beggary in, 31.
Chinese, the, the accounts of, 18-21;
their poetry, 21, 22, 29, 32;
their etiquette of politeness, 22;
the quality of play in their character, 22-24;
their life regulated by music and ceremony, 24-26, 29;
their civilisation shows that life is art, 27, 28, 30;
the æsthetic supremacy of, 28-30;
endurance of their civilisation, 28, 30;
their philosophic calm, 29 _n._;
decline in civilisation of, in last thousand years, 30;
their pottery, 32, 33;
embodiment of their symbol of the art of living, 33.
Chinese life, the art of balancing æsthetic temperament and guarding
against its excesses, 29.
_Choir_, the word, 42.
Christian Church, supposed to have been originally a theatre, 42.
Christian ritual, the earliest known, a sacred dance, 42.
Christian worship, dancing in, 42-45;
central function of, a sacred drama, 43.
Christianity, Lifuan art of living undermined by arrival of, 18;
dancing in, 40-45;
the ideas of, as dogmas, hypotheses, and fictions, 99;
and the Pagan Mysteries, 242;
and asceticism, 249 _n._;
the Hebrew mode of feeling grafted into, 276.
Chrysostom, on dancing at the Eucharist, 43.
Church, and religion, not the same, 228 _n._
Church Congress, at Sheffield in 1922, ideas of conversion expressed
at, 220 _n._
Churches, 351.
Cicero, 73, 252.
Cinema, educational value of, 138.
Cistercian monks, 43.
Cistercians, the, 347.
Civilisation, develops with conscious adhesion to formal order, 172;
standards for measurement of, 285;
Niceforo’s measurement of, 286;
on meaning of, 287;
the word, 288;
the art of, includes three kinds of facts, 289;
criminality as a measure of, 290, 291;
creative genius and general instruction in connection with, 291-93;
birth-rate as test of, 294;
consumption of luxuries as test of, 294, 295;
suicide rate as test of, 295;
tests of, applied to France by Niceforo, 295-97;
not an exclusive mass of benefits, but a mass of values, 297;
becoming more complex, 298;
small minority at the top of, 298;
guidance of, assigned to lower stratum, 298, 299;
art of eugenics necessary to save, 299, 300;
of quantity and of quality, 300;
not to be precisely measured, 301;
the more rapidly it progresses, the sooner it dies, 301;
an art, 301, 310;
an estimate of its value possible, 302;
meaning of Protagoras’s dictum with relation to, 302;
measured by standard of fine art (sculpture), 307, 308;
eight periods of, 307, 308;
a fresh race needed to produce new period of, 308;
and culture, 309;
æsthetic sense indispensable for, 345;
possible break-up of, 358.
Clarity, as an element of style, 176-78.
_Clichés_, 149-51.
Cloisters, for artists, 358.
Cochez, of Louvain, on Plotinus, 249 _n._
Coleridge, S. T., his “loud bassoon,” 169;
of the spectator type of the contemplative temperament, 332.
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._;
defined, 290;
natural, 290;
evolutive social, 291.
Criminality, as a measure of civilisation, 290, 291.
Critics, of language, 141-51;
difficulty of their task, 153 _n._
Croce, Benedetto, his idea of art, 84;
tends to move in verbal circles, 84;
on judging a work of art, 153 _n._;
on mysticism and science, 191 _n._;
tends to fall into verbal abstraction, 324 _n._;
his idea of intuition, 232 _n._, 320 _n._;
on the critic of art as a critic of life, 269;
on art the deliverer, 318 _n._;
union of æsthetic sense with artistic instinct, 350 _n._
Croiset, Maurice, on Plotinus, 249 _n._
Cromwell, Oliver, 272.
Cruz, Friar Gaspar de, on the Chinese, 31.
Culture, and civilisation, 309.
Curiosity, the sexual instinct a reaction, to the stimulus of, 104,
112.
Custom, 245.
Cuvier, Georges, 181.
Cymbal, the, 53.
Dance, love, among insects, birds, and mammals, 45, 46;
among savages, 46;
has gained influence in the human world, 48;
various forms of, 48, 49;
the complete, 49, 50;
the seductiveness of, 50;
prejudice against, 50, 51;
choral, Plotinus compares the moral life of the soul to, 251, 252.
Dance of Life, the, 66, 67.
Dancing, and building, the two primary acts, 36;
possibly accounts for origin of birds’ nests, 36 _n._;
supreme manifestation of physical life and supreme symbol of
spiritual life, 36;
the significance of, 37;
the primitive expression of religion and of love, 37, 38, 45;
entwined with human tradition of war, labour, pleasure, and
education, 37;
the expression of the whole man, 38, 39;
rules the life of primitive men, 39 _n._;
religious importance of, among primitive men, 39, 40;
connected with all religions, 40;
ecstatic and pantomimic, 41, 42;
survivals of, in religion, 42;
in Christian worship, 42-45;
in cathedrals, 44, 45;
among birds and insects, 45;
among mammals, 45, 46;
a process of courtship and novitiate for love, 46, 47;
double function of, 47;
different forms of, 48-51;
becomes an art, 51;
professional, 52;
Classic and Romantic, 52-60;
the ballet, 53, 56-60;
solo, 53;
Egyptian and Gaditanian, 53, 54;
Greek, 55, 56, 60;
as morals, 60, 61, 63;
all human work a kind of, 61, 62;
and music, 61-63;
social significance of, 60, 61, 63, 64;
and war, allied, 63, 64;
importance of, in education, 64, 65;
Puritan attack on, 65;
is life itself, 65;
always felt to possess symbolic significance, 66;
the learning of, a severe discipline, 277.
Dancing-school, the function of, process of courtship, 47.
D’Annunzio, Gabriele, 178.
_Danse du ventre_, the, 49 _n._
Dante, 311, 349;
dancing in his “Paradiso,” 43;
intellectual life of, largely guided by delight in beauty of rhythmic
relation between law and instance, 73.
Darwin, Charles, 88;
poet and artist, 128, 129;
and St. Theresa, 198.
Darwin, Erasmus, 181.
David, Alexandra, his book, _Le Philosophe Meh-ti et l’Idée de
Solidarité_, 26 _n._
Decadence, of art of living, 8 _n._;
rigid subservience to rule a mark of, 173.
Degas, 315 _n._
Democracies, the smallest, are highest, 300.
Demography, 285.
Demosthenes, 336.
De Quincey, Thomas, the music of his style, 164.
Descartes, René, on arts and sciences, 69;
represents in France new impetus to sciences, 180;
religious, though man of science, 208.
Design, the arts of, 36.
Devadasis, the, sacred dancing girls, 51, 52.
Diaghilev, 59.
Dickens, Charles, 311.
Dickinson, G. Lowes, his account of the Chinese, 20, 21;
his account of Chinese poetry, 21, 22.
Diderot, Denis, wide-ranging interests of, 5;
translated Shaftesbury, 268.
“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;
his masterpiece, “_The Brothers Karamazov_,” 135, 136.
Drama, Greek, origin of, 55, 56;
the real Socrates possibly to be seen in, 78.
Driesch, Hans, on his own mental development, 216 _n._
Drum, the influence of the, 63.
Dryden, John, 148.
Dujardin, Edouard, his story of Huysmans, 166;
on Bergson’s style, 177.
Dumont, Arsène, on civilisation, 298, 301.
Duncan, Isadora, 60.
Duprat, G. L., on morality, 34.
Dupréel, Professor, on Hippias, 6 _n._;
his _La Légende Socratique_, 82 _n._;
on the Protagorean spirit, 302 _n._
Duty, 275, 276.
Easter, dancing of priests at, 44.
Eckhart, Meister, 234, 336.
Education, importance of dancing in, 64, 65;
Einstein’s views on, 137;
and genius, as tests of civilisation, 291-93.
Egypt, ancient, dancing in, 42;
Classical dancing originated in, 52;
the most influential dancing-school of all time, 53;
musical instruments associated with dancing, originated or developed
in, 53;
modern, dancing in, 54 _n._;
importance of its civilisation, 307.
Eight-hours day, the, 357.
Einstein, Albert, 2, 69 _n._, 72;
substitutes new axioms for old, 95;
casts doubts on Leonardo da Vinci’s previsions of modern science, 120
_n._;
seems to have won a place beside Newton, 133;
an imaginative artist, 134;
his fondness for music, 134, 135;
his other artistic likings and dislikings, 135, 136;
an artist also in his work, 136;
his views on science, 137;
his views on education, 137, 138;
on the motives that attract people to science and art, 138, 321;
feels harmony of religion and science, 207;
concerned with truth, 327;
and “science for science’s sake,” 347 _n._
Eleusinian Mysteries, the, 240-43.
Eliot, George, her knowledge of the life of country people, 171;
Tolstoy’s opinion of, 311.
Ellis, Havelock, childhood of, 210, 211;
his period of emotional and intellectual expansion, 211;
loses faith, 212;
influence of Hinton’s “_Life in Nature_” on, 215-18.
Els Cosiers, dancing company, 45.
Emerson, R. W., his style and that of Bacon, 161.
Emmanuel, his book on Greek dancing, 55.
Empathy, 66.
Engineering, professional, Leonardo da Vinci called the founder of,
118, 119.
English laws, 98.
English prose style, Cartesian influence on, 180 _n._
English speech, licentiousness of, in the sixteenth century, 148;
the best literary prose, 155, 156.
Enjoyment, without possession, 343-46.
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;
Galton the founder of the modern scientific art of, 353;
assertion of principle of, by Jesus, 355, 356;
question of raising quality of population by process of, 358.
Eusebius, on the worship of the Therapeuts, 42.
Evans, Sir Arthur, 112.
Evolution, theory of, 88, 104;
a process of sifting, 355;
and devolution, 355;
social, 357, 358.
Existence, totality of, Hippias’s supreme ideal, 6.
Existing, and thinking, on two different planes, 101.
“Expression,” 324.
Facts, in the art of civilisation, material, intellectual, and moral
(with political), 289.
Fandango, the, 50.
Faraday, Michael, characteristics of, trust in facts and imagination,
130-32;
his science and his mysticism, 208.
Farnell, L. R., on religion and science, 197 _n._
Farrer, Reginald, on the philosophic calm of the Chinese, 29 _n._
Faure, Elie, his conception of Napoleon, 10;
on Greek art, 76 _n._;
has faith in educational value of cinema, 137;
on knowledge and desire, 154;
on the Greek spirit, 292 _n._
Ferrero, Guglielmo, on the art impulse and the sexual instinct, 109.
Fiction, germs of doctrine of, in Kant, 87;
first expression of doctrine of, found in Schiller, 89;
doctrine of, in F. A. Lange’s _History of Materialism_, 93;
Vaihinger’s doctrine of, 94-103;
hypothesis, and dogma, 98, 99;
of Bovarism, 335, 336;
character constituted by process of, 336.
Fictions, the variety of, 94-100;
the value of, 96, 97;
summatory, 98;
scientific and æsthetic, 102;
may always be changed, 103;
good and bad, 103.
Fiji, dancing at, 49.
Fijians, the, 13 _n._
Fine arts, the, 70;
civilisation measured by standard of, 307;
not to be pursued for useful end outside themselves, 322.
Fireworks, 22, 23.
Flaubert, Gustave, is personal, 144;
sought to be most objective of artists, 182.
Flowers, the attitude of the poet toward, 168, 169.
Flying-machines, 72 _n._;
designed by Leonardo da Vinci, 119.
Foch, Ferdinand, quoted, 103.
Fokine, 59.
Folk-dances, 62.
Force, a fiction, 96.
Fossils, significance of, discovered by Leonardo da Vinci, 120.
Fox, George, 237.
France, tests of civilization applied to, by Niceforo, 295-97.
Francis of Assisi, 237.
Franck, César, mysticism in music of, 237.
Frazer, J. G., on magic and science, 195, 196.
Freedom, a fiction, 100.
French ballet, the, 57, 58.
French speech, its course, 148, 149.
Freud, Sigmund, 111, 318 _n._;
regards dreaming as fiction, 103;
on the probability of the disappearance of religion, 228 _n._
Frobisher, Sir Martin, his spelling, 173, 174.
Galen, 120.
Galton, Francis, a man of science and an artist, 126-28;
founder of the modern scientific art of eugenics, 353;
and Jesus’s assertion of the principle of eugenics, 356.
Games, the liking of the Chinese for, 23.
Gaultier, Jules de, 330 _n._;
on Buddhist monks, 224 _n._;
on pain and pleasure in life, 278 _n._;
on morality and reason, 281;
on morality and art, 284;
on the antinomy between morals and morality, 319;
on beauty, 327;
on life as a spectacle, 333;
the Bovarism of, 335-37;
his philosophic descent, 337;
applies Bovarism to the Universe, 337;
his philosophy seems to be in harmony with physics, 338;
the place of morality, religion, and law in his system, 338-40;
place of the æsthetic instinct in his system, 341, 343-45;
system of, compared with Russell’s, 342, 343;
importance of development of æsthetic sense to, 345;
and the idea of pure art, 346, 347;
considers æsthetic sense mixed in manifestations of life, 349, 350;
had predilection for middle class, 356, 357;
sees no cause for despair in break-up of civilisation, 358.
Gauss, C. F., religious, though man of science, 208.
Genesis, Book of, the fashioning of the cosmos in, 1, 314.
Genius, the birth of, 109;
and education, as tests, of civilisation, 291-93;
of country, and temper of the population, 292, 293.
Geology, founded by Leonardo da Vinci, 120.
Geometry, Protagoras’s studies in, 3;
a science or art, 68.
Gibbon, Edward, 162.
Gide, André, 322.
Gizycki, Georg von, on Shaftesbury, 260, 267.
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;
and sweetness, originally the same, 263;
moral, originally expressed in terms of taste, 263.
Gorgias, 302.
Gourmont, Remy de, 65;
his remark about pleasure, 24;
on personality, 144;
on style, 177;
on civilisation, 298;
on the Jesuits, 304, 305;
on beauty, 315;
on art and morality, 321;
on sociological function of art, 323.
Government, as art, 3.
Grace, an element of style in writing, 155, 156.
Grammar, Protagoras the initiator of modern, 4;
a science or art, 68;
writing not made by the laws of, 172, 173.
Grammarian, the, the formulator, not the lawgiver, of usage, 148.
Great Wall of China, the, 28.
Great War, the, 339.
Greece, ancient, genius built upon basis of slavery in, 292;
the spirit of, 292.
Greek art, 76 _n._
Greek 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;
believes that poets and artists will be priests of social religion
without dogmas, 349, 350.
Gypsies, possible origin of the name “Egyptians” as applied to them, 54
_n._
Hadfield, Emma, her account of the life of the natives of the Loyalty
Islands, 13-18.
Hakluyt, Richard, 143;
his picture of Chinese life, 19.
Hall, Stanley, on importance of dancing, 64, 65;
on the beauty of virtue, 270 _n._
Handel, G. F., 62.
Handwriting, partly a matter of individual instinct, 156, 157;
the complexity and mystery enwrapping, 157;
resemblances in, among members of the same family, 157, 158;
atavism in, 157, 158.
Hang-Chau, 20.
Hardy, Thomas, his lyrics, 170 _n._;
his sensitivity to the sounds of Nature, 171;
his genius unquestioned, 187 _n._
Hawaii, dancing in, 51.
Hawthorne, Nathaniel, his style, 161.
Hebrews, their conception of the fashioning of the universe, 1;
ancient, their priests and their prophets, 203;
never conceived of the art of morals, 253;
were no æsthetic intuitionists, 276.
Hegel, G. W. F., 90;
poetic quality of his philosophy, 84;
his attempt to transform subjective processes into objective
world-processes, 101.
Heine, Heinrich, 155 _n._
Hellenism, the revivalists of, 271.
Helmholtz, H. L. F., science and art in, 72.
Hemelverdeghem, Salome on Cathedral at, 49 _n._
Heraclitus, 74.
Herder, J. G. von, his _Ideen zur Geschichte der Menschheit_, 88;
inspired by Shaftesbury, 268.
Heredity, in handwriting, 157, 158;
in style, 158-61, 190;
tradition the corporeal embodiment of, 161.
Hincks, Marcella Azra, on the art of dancing in Japan, 42 _n._
Hindu dance, 41.
Hinton, James, on thinking as an art, 86 _n._;
on the arts, 111;
the universe according to, 215, 216;
Ellis’s copy of his book, 220;
on pleasure and pain in the art of life, 278;
on methods of arts and moral action, 281, 282.
Hippias, 302;
significance of his ideas, in conception of life as an art, 4-6;
his ideal, 4, 6;
the Great Logician, 6 _n._
Hobbes, Thomas, on space, 95;
his dictum _Homo homini lupus_, 262.
Hodgson, Shadworth, 289.
Hoffman, Bernhard, his _Guide to the Bird-World_, 168.
Horace, the popularity of, in modern times, 92.
Hovelaque, Émile, on the Chinese, 27, 28.
Howell, James, his “Familiar Letters,” 184.
Hugo, Victor, 149, 311.
Hula dance, the, 51.
Humboldt, Wilhelm von, 275.
Hume, David, took up fictional point of view, 96;
recognised Shaftesbury, 267;
influenced by Hutcheson, 275.
Hunt, Leigh, sensitively acute critic of Keats, 167.
Hunter, John, 181.
Hutcheson, Francis, æsthetic moralist, 251;
came out of Calvinistic Puritanism, 266;
one of the founders of æsthetics, 271, 326 _n._;
wrote the first modern treatise on æsthetics, 271;
represented reaction against Puritanism, 271;
Shaftesbury’s ideas as developed by, 273;
his use of the term “moral sense,” 273, 274;
his impressive personality, 274;
philosophy was art of living to, 274, 275;
inconsistent, 314;
on distinction between art and æsthetics, 326 _n._;
his idea of the æsthetic and the moral emotion, 327 _n._
Huysmans, J. K., his vocabulary, 165;
at Wagner concert, 166;
fascinated by concert programmes, 166, 167.
“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;
man lives by, 102;
guarded by judgment and principles, 130-32;
part performed by, in morals, 272;
and the æsthetic instinct, 344.
Imbeciles, 352-55.
Imitation, in the productions of young writers, 164.
_Immoral_, significance of the word, 246.
Immortality, a fiction, 100.
Impulses, creative and possessive, 306, 307, 341-43.
Inclination, 275.
India, dancing in, 51, 52;
the Todas of, 203 _n._
Indians, American, religious dances among, 40, 42.
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;
imitation a part of, 164;
and tradition, mould morals, 254-59;
the possessive, 338-40, 344, 345, 351, _see_ Possessive instinct;
the æsthetic, 341, 343-46, 350, _see_ Æsthetic instinct.
Instincts, 234, 235.
Intelligence, the sphere of, 233, 234.
Intuition, the starting point of science, 137;
meaning of, 232 _n._;
of the man of genius, 320.
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;
and the Platonic Socrates, 82, 83;
asserts principle of eugenics, 353, 356;
and Plato, 356.
Joël, Karl, on the Xenophontic Socrates, 78;
on the evolution of the Greek philosophic spirit, 206.
John of the Cross, 237.
Johnson, Samuel, the pedantry of, 156;
Latin-French element in, 162;
his idea of “matter,” 230.
Johnston, Sir H. H., on the dancing of the Pygmies, 51.
Jones, Dr. Bence, biographer of Faraday, 130.
Jonson, Ben, 184.
Joyce, James, 172, 184;
his _Ulysses_, 185, 186.
Kant, Immanuel, 89;
germs of the doctrine of the “as if” in, 87;
his idea of the art of morals, 253, 254;
influenced by Shaftesbury, 253, 254, 266;
anecdote about, 257 _n._, 276;
rationalises morality, 281.
Keats, John, concerned with beautiful words in “The Eve of St. Agnes,”
167.
Kepler, Johann, his imagination and his accuracy in calculation, 132,
133.
Keyserling, Count Hermann, his _Philosophie als Kunst_, 83 _n._
“Knowing,” analysis of, 70, 71.
Kolbe, Rev. Dr., illustrates æsthetic view of morals, 276 _n._
Lamb, Charles, 184.
Landor, W. S., 149;
on vulgarisms in language, 151 _n._;
on the poet and poetry, 154, 172;
on style, 163.
Lange, F. A., his _The History of Materialism_, 73 _n._, 83;
sets forth conception of philosophy as poetic art, 83;
the Neo-Kantism of, 87;
his influence on Vaihinger, 92, 93.
Language, critics of present-day, 141-51;
of our forefathers and of to-day, 143;
things we are told to avoid in, 145-51;
is imagery and metaphor, 165;
reaction of thought on, 179-81;
progress in, due to flexibility and intimacy, 183.
Languages, the Yo-heave-ho theory of, 61.
Lankester, Sir E. Ray, 70.
Lao-tze, and Confucius, 25, 26;
the earliest of the great mystics, 204;
harmony of religion and science in his work, 204, 205.
Law, a restraint placed upon the possessive instinct, 339, 340;
to be replaced by æsthetic instinct, 340, 341.
Laycock, on handwriting, 158 _n._
Leibnitz, Baron S. W. von, 6 _n._;
on space, 95;
on music, 135;
admired Shaftesbury, 268.
“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;
and fiction, 94;
of thought, inescapable, 183.
Loret, on dancing, 54 _n._
Love, dancing the primitive expression of, 37, 45;
curiosity one of the main elements of, 112.
Love-dance, 45-51.
_See_ Dance, Dancing.
Loyalty Islands, the, customs of the natives of, 13-18.
Lucian, 353 _n._;
on dancing, 40, 45.
Lucretius, 207.
Lull, Ramon, 237.
Lulli, J. B., brought women into the ballet, 57.
Luxuries, consumption of, as test of civilisation, 294-97.
Machinery of life, 216.
Madagascar, dancing in, 49.
Magic, relation of, to science and religion, 193-96.
Magna Carta, 98.
Malherbe, François de, 148.
Mallarmé, Stéphane, music the voice of the world to, 166.
Mallorca, dancing in church in, 44, 45.
Mammals, dancing among, 45, 46.
Man, has found it more difficult to conceive life as an art than to act
it so, 1;
his conception less that of an artist, as time went on, 2;
in Protagoras’s philosophy, 3, 4, 302;
ceremony and music, his external and internal life, 25;
added to Nature, 153;
has passed through stages of magic, religion, and science, 196;
an artist of his own life, 271;
is an artist, 310;
as artist and as æsthetician, 314;
becomes the greatest force in Nature, 339;
practices adopted by, to maintain selection of best stock, 354.
Mandeville, Sir John, on Shaftesbury, 262.
Manet, 311.
Marco Polo, his picture of Chinese life, 19, 20;
noticed absence of beggars in China, 31;
on public baths in China, 32.
Marett, on magic and science, 195.
Marlowe, Christopher, 170, 184.
Marquesans, the, 13 _n._
Marriott, Charles, on the union of æsthetic sense with artistic
instinct, 350 _n._
Martial, 54.
Mass, dancing in ritual of, 43-45;
analogy of Pagan Mysteries to, 242.
Master of Arts, 69.
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;
and spirit, 229, 230.
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.
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;
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.
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;
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.
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;
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.
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;
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.
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;
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 impulses, 306, 307, 341-43.
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.
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;
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.
Pygmalionism, 353 _n._
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.
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;
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._
Ruskin, John, 316;
a God-intoxicated man, 316 _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.
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._;
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._
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;
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.
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;
morals based on sympathy, according to, 272;
influenced by Hutcheson, 275.
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;
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.
Sophists, the, 4, 302, 302 _n._
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.
Stevenson, R. L., 188.
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.
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;
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.