Menzel, critic, cited, 118.
Meredith, G., 42, 137.
Metaphysics, hostile to a true æsthetic, 149; effect upon Coleridge, 239; and see Didacticism.
Michelangelo, 50, 101, 233, 247, 272.
"Midsummer Meditation, A," Gilder, 257.
Midsummer Night's Dream, Shakespeare, 189, 201, 248.
Mill, J. S., on philosophy, 16; on poetry as emotion, 19, 20; on feeling and rhythm, 55; on the novelist and the poet, 138; on feeling and thought, 261; and see 178.
Millais, Sir J., painter, 279.
Miller, "Olive Thorne" [Harriet M.], 62.
Millet, J. F., painter, 10, 255.
Milton, his poetic canon, 27, 49, 260; tractate On Education, 27; as a Copernican, 35; his prose, 59; early poems of, 168; Comus, 236; his Satan, 238; his imaginative words and phrases, 240 et seq.; his imagination, 245; quoted, 53; and see 58, 76, 90, 113, 172, 193, 226, 248, 250, 269, 287, 290.
"Miltonic," 240.
Miltonic Canon, the, its constituent of passion, 260, 261; and see 27, 49.
"Milton in his Blindness," Howell, 266.
"Mimnermus in Church," Cory, 183.
Minor Poets, 80; the creative masters in youth, 101; recent, their merits and defects, 136, 226, 227, 254; the new art-school, 173.
Mirth, 275.
Mixed type, poetry of the, 113, 114.
Molière, 100, 283.
Moore, T., states the Byronic creed, 19.
Monet, Claude, painter, 158.
Monodramas, 109.
Monticelli, painter, 158.
Moralism. See Didacticism, etc.
More, Henry, quoted, 286.
Morris, W., contrasted with Walter Scott, 131; and Chaucer, 170.
Moschus, paraphrase on a passage in Job, 90; Epitaph on Bion, 90.
Motherwell, W., 266.
Motive, recent lack of, 289.
Mozart, musical genius of, 281.
Murfree, Fanny N. D., novelist, quoted, 208, 209.
Music, as a sensation, 15; Lanier's devotion to, 62, 282; its range and limits of expression, and as compared with poetry, 64-66; special functions, 64; is it the highest art? ib.; Poe on, 65; Schopenhauer and Spencer on, 65; expresses feeling, not thought, 66; its effect on the rhythm, etc., of the Hebrew psalms, 85; philosophy of, 179; the musician's memory, 232; and see 264.
