INDEX Action and narration, 49. ESTHETIC INTEREST, GENERAL, 247- Esthetics, analysis and theory in, 247. Aldrich, T. B., The Queen of Sheba, 122. Allen, Grant, Physiological Esthetics, Amadis of Gaul, 8, 22, 113, 206. on, 268, 295, 301-302. Analysis of the novel, vii ff., 265-268. 82. Annunzio, Gabriele d', 119, 192, 194, 195, Romances of the Lily, 5. Augustine, Saint, 51, 161, 209. 60, 62, 65, 67, 69, 70, 71, 72, 76, 77, Author, the, age of, 184. and dramatis personæ, relations of, individuality of, as a shaping force, sex of, 185. Azeglio, Massimo d', Ettorre Fieramosca, Background, middleground, and fore- Bacon, Francis, 156, 159, 245, 289; The Baldwin, J. M., Dictionary of Philosophy Trionfo della Morte, 153, 189, 192, n., Balzac, Honoré de, 8, 86, 94, 106, 120, 194, 307. Architecture and the novel, 243. Arnold, Matthew, 145, 161, n., 188, 199. Art, the novel as. See Esthetic Interest, theories of, 260. Arts, classification of the, 233. relation of the separate, 232. Ascham, Roger, The Schoolmaster, 288; 121, 150, 153, 155, 156, 159, 176, Comédie Humaine, La, 5, 6, 7, 106, 133, 135, 151, 170, 173, 178. Peau de Chagrin, La, 12, 153, 170, 297. Barbauld, Anna L., 295. Barclay, John, Argenis, 12, 192. Browning, Elizabeth Barrett, Aurora Leigh, 221. Baumgart, H., Handbuch der Poetik, 110, Browning, Oscar, Life of George Eliot, n., 305. Beautiful, the, and the unbeautiful, 256. Beckford, William, Vathek, 20, 33, 173, 177, 211. Beethoven, 241. 172, 201. Browning, Robert, xii, 19, 24, 117, 141, Brugis, Nonis Aprilis, 288. Beginning, middle, and end of composi- Brunetière, Ferdinand, 188, 215, 304; Belleau, Remi, Journée de la Bergerie, Bulwer Lytton, 194, 296; Kenelm Chil- lingly, 10, 13, 43; Last Days of Bunyan, John, 23, 83, 198, 224, 289; Holy Burney (D'Arblay), Frances, 186; Eve- Burns, Robert, 209, 228. Burton, Robert, Anatomy of Melancholy, Byelinski, Vissarion G., 300. Caine, Hall, The Manxman, 8. Carlyle, Thomas, 176, 196, 296; Chartism, Carrière, M., Aesthetik, 306. Cervantes, 95, 150, 153, 156, 163, 290. 123, 153, 174, 179, 185, 189, 194, Chapter, the, 9. distribution of characters, 93. foreground, middleground, and back- CONSECUTIVE STRUCTURE, 28–46. Contrast, 252. Conversation, group, 18. identity, individuality, and type in, 121. Cooper, J. F., 204; Last of the Mohicans, ground, 96. grouping of, 93–108. Davenant, Sir William, preface of Gondi- | Edgeworth, Maria, 156, 186; Castle Rack- bert, 289. Defoe, Daniel, 7, 16, 23, 102, 115, 125, 150, 151, 157, 184, 196, 198, 202, 291. 71, 74, 75, 84, 89, 95, 98, 115, 123, rent, 82, 184. Eeden, Frederik van, 211. Effects of a novel, particular, 209-214; Eliot, George, 83, 101, 126, 133, 140, 144, Adam Bede, 7, 10, 120, 126, 168, 170, Janet's Repentance, 22, 27, 46, 57, 59, 73. Mill on the Floss, 22, 71, 117, 134, Mr. Gilfil's Love Story, 22. 23, 24, 30, 31, 32, 33, 35, 36, 37, 38, Emerson, R. W., 145, 159, 188, 230. Dramatic and non-dramatic form, 15-16, Emotional effect of the novel, 212. 31. Dramatic line, the, 57-61. PERSONE. THE, 91-108. See CHARACTERS. DRAMATIS Dryden, John, 289. Dumas, père, Alexandre, 104, 140, 180, 191. Emotion, line of, 39. English Criticism of the Novel, Notes on, Environment of the author, immediate Environment of characters, physical, 114 Dunlop, J. C., History of Prose Fiction, Epic, the, and the novel, 222. x, 266, 296. Duologue, 18. Earle, John, Microcosmography, 230. Episode in plot, 37. Episode in the author's life, 186. Erckmann-Chatrian partnership, 180. Eustathius, 287. Event and incident, 34. Exhibition and interpretation of subject, 131. External material, language as, 248. Fiction. See Ideality, Illusion, Prose Fielding, Henry, 8, 10, 14, 74, 95, 134, Amelia, 8, 10, 134, 172. Jonathan Wild, 10, 17. Fuller (Ossoli), Margaret, 295. 290. Galdós, Pérez. See Pérez Galdós. Germ of a composition, the, 167. Giddings, F. H., Inductive Sociology, 107, Gilbert, Eugène, Le Roman en France Joseph Andrews, 5, 6, 102, 123, 153, GLOSSARY AND REFERENCES, 269–278. 169, 179. Tom Jones, xi, 5, 10, 33, 76, 98, 185. and Jane Collier, The Cry, 8, 291. Flaubert, Gustave, 101, 150, 153; Madame Fogazzaro, Antonio, 137, 184, 195. Force, as a quality of style, 164. Godwin, William, Caleb Williams, 193. Wahlverwandtschaften, Die, 16, 144. 182, 183, 184, 185, 190, 205, 206, Wilhelm Meister, 5, 8, 33, 105, 123, FORCES, THE SHAPING, of a novel, 181- Gogol, Nikolai V., 160, 163, 171, 176, 201. Foreground, middleground, and back- ground characters, 96. Form and subject-matter, 130. Form in art, value of, 249. Forms of discourse, 218. 180, 183, 187, 206, 300. Dead Souls, 8, 180, 189, 195, 224. Foscolo, Ugo, 190; Jacopo Ortis, 21, Gómez de Quevedo y Villegas, Fran- |