How are we to expect this morality—if so we may still term it—to prevail? Jules de Gaultier, as we have seen, realising that the old moralities have melted away, seems to think that the morality of art, by virtue of its life, will take the place of that which is dead. But he is not specially concerned to discuss in detail the mechanism of this replacement, though he looks to the social action of artists in initiation and stimulation. That was the view of Guyau, and it fitted in with his sociological conception of art as being one with life; great poets, great artists, Guyau believed, will become the leaders of the crowd, the priests of a social religion without dogmas.[[153]] But Gaultier’s conception goes beyond this. He cannot feel that the direct action of poets and artists is sufficient. They only reveal the more conspicuous aspects of the æsthetic sense. Gaultier considers that the æsthetic sense, in humbler forms, is mixed up with the most primitive manifestations of human life, wherein it plays a part of unsuspected importance.[[154]] The more thorough investigation of these primitive forms, he believes, will make it possible for the lawmaker to aid the mechanism of this transformation of morality.
Having therewith brought us to the threshold of the æsthetic revolution, Jules de Gaultier departs. It remains necessary to point out that it is only the threshold. However intimately the elements of the æsthetic sense may be blended with primitive human existence, we know too well that, as the conditions of human existence are modified, art seems to contract and degenerate, so we can hardly expect the æsthetic sense to develop in the reverse direction. At present, in the existing state of civilisation, with the decay of the controlling power of the old morality, the æsthetic sense often seems to be also decreasing, rather than increasing, in the masses of the population.[[155]] One need not be troubled to find examples. They occur on every hand and whenever we take up a newspaper. One notes, for instance, in England, that the most widespread spectacularly attractive things outside cities may be said to be the private parks and the churches. (Cities lie outside the present argument, for their inhabitants are carefully watched whenever they approach anything that appeals to the possessive instinct.) Formerly the parks and churches were freely open all day long for those who desired to enjoy the spectacle of their beauty and not to possess it. The owners of parks and the guardians of churches have found it increasingly necessary to close them because of the alarmingly destructive or predatory impulses of a section of the public. So the many have to suffer for the sins of what may only be the few. It is common to speak of this as a recent tendency of our so-called civilisation. But the excesses of the possessive instinct cannot have been entirely latent even in remote times, though they seem to have been less in evidence. The Platonic Timæus attributed to the spectacle of the sun and the moon and the stars the existence of philosophy. He failed to note that the sun and the moon and the stars would have disappeared long ago—as even their infinitely more numerous analogues on the earth beneath are likely to disappear—had they happened to be within the reach of predatory human hands. But the warps and strains of civilised life, with its excessive industrialism and militarism, seem to disturb the wholesome balance of even the humblest elements of the possessive and æsthetic instincts. This means, in the first and most important place, that the liberty of the whole community in its finest manifestations is abridged by a handful of imbeciles. There are infinite freedoms which it would be a joy for them to take, and a help to their work, and a benefit to the world, but they cannot be allowed to take them because there are some who can only take them and perish, damning others with themselves. Besides this supreme injury to life, there are perpetual minor injuries that the same incapable section of people are responsible for in every direction, while the actual cost of them in money, to the community they exert so pernicious an influence on, is so great and so increasing that it constitutes a social and individual burden which from time to time leads to outbursts of anxious expostulation never steady enough to be embodied in any well-sustained and coherent policy.
It is not, indeed, to be desired that the eugenic action of society should be directly aimed at any narrowly æsthetic or moral end. That has never been the ideal of any of those whose conceptions of social life deserve to be taken seriously, least of all Galton, who is commonly regarded as the founder of the modern scientific art of eugenics. “Society would be very dull,” he remarked, “if every man resembled Marcus Aurelius or Adam Bede.” He even asserted that “we must leave morality as far as possible out of the discussion,” since moral goodness and badness are shifting phases of a civilisation; what is held morally good in one age is held bad in another. That would hold true of any æsthetic revolution. But we cannot afford to do without the sane and wholesome persons who are so well balanced that they can adjust themselves to the conditions of every civilisation as it arises and carry it on to its finest issues. We should not, indeed, seek to breed them directly, and we need not, since under natural conditions Nature will see to their breeding. But it is all the more incumbent upon us to eliminate those ill-balanced and poisonous stocks produced by the unnatural conditions which society in the past had established.[[156]] That we have to do alike in the interests of the offspring of these diseased stocks and in the interests of society. No power in Heaven or Earth can ever confer upon us the right to create the unfit in order to hang them like millstones around the necks of the fit. The genius of Galton enabled him to see this clearly afresh and to indicate the reasonable path of human progress. It was a truth that had long been forgotten by the strenuous humanitarians who ruled the nineteenth century, so anxious to perpetuate and multiply all the worst spawn of their humanity. Yet it was an ancient truth, carried into practice, however unconsciously and instinctively, by Man throughout his upward course, probably even from Palæolithic times, and when it ceased Man’s upward course also ceased. As Carr-Saunders has shown, in a learned and comprehensive work which is of primary importance for the understanding of the history of Man, almost every people on the face of the earth has adopted one or more practices—notably infanticide, abortion, or severe restriction of sexual intercourse—adapted to maintain due selection of the best stocks and to limit the excess of fertility. They largely ceased to work because Man had acquired the humanity which was repelled by such methods and lost the intelligence to see that they must be replaced by better methods. For the process of human evolution is nothing more than a process of sifting, and where that sifting ceases evolution ceases, becomes, indeed, devolution.[[157]]
When we survey the history of Man we are constantly reminded of the profound truth which often lay beneath the parables of Jesus, and they might well form the motto for any treatise on eugenics. Jesus was constantly seeking to suggest the necessity of that process of sifting in which all human evolution consists; he was ever quick to point out how few could be, as it was then phrased, “saved,” how extremely narrow is the path to the Kingdom of Heaven, or, as many might now call it, the Kingdom of Man. He proclaimed symbolically a doctrine of heredity which is only to-day beginning to be directly formulated: “Every tree that bringeth not forth good fruit is hewn down and cast into the fire.” There was no compunction at all in his promulgation of this radical yet necessary doctrine for the destruction of unfit stocks. Even the best stocks Jesus was in favour of destroying ruthlessly as soon as they had ceased to be the best: “Ye are the salt of the earth: but if the salt have lost his savour, ... it is thenceforth good for nothing, but to be cast out, and to be trodden under foot of men.” Jesus has been reproached by Nietzsche for founding a religion for slaves and plebeians, and so in the result it may have become. But we see that, in the words of the Teacher as they have been handed down, the religion of Jesus was the most aristocratic of religions. Its doctrine embodied not even the permission to live for those human stocks which fall short of its aristocratic ideal. It need not surprise us to find that Jesus had already said two thousand years ago what Galton, in a more modern and—some would add—more humane way, was saying yesterday. If there had not been a core of vital truth beneath the surface of the first Christian’s teaching, it could hardly have survived so long. We are told that it is now dead, but should it ever be revived we may well believe that this is the aspect by which it will be commended. It is a significant fact that at the two spiritual sources of our world, Jesus and Plato, we find the assertion of the principle of eugenics, in one implicitly, in the other explicitly.
Jules de Gaultier was not concerned to put forward an aristocratic conception of his æsthetic doctrine, and, as we have seen, he remained on the threshold of eugenics. He was content to suggest, though with no positive assurance, a more democratic conception. He had, indeed, one may divine, a predilection for that middle class which has furnished so vast a number of the supreme figures in art and thought; by producing a class of people dispensed from tasks of utility, he had pointed out, “a society creates for itself an organ fitted for the higher life and bears witness that it has passed beyond the merely biological stage to reach the human stage.” But the middle class is not indispensable, and if it is doomed Gaultier saw ways of replacing it.[[158]] Especially we may seek to ensure that, in every social group, the individual task of utilitarian work shall be so limited that the worker is enabled to gain a leisure sufficiently ample to devote, if he has the aptitude, to works of intellect or art. He would agree with Otto Braun, the inspired youth who was slain in the Great War, that if we desire the enablement of the people “the eight-hours day becomes nothing less than the most imperative demand of culture.” It is in this direction, it may well be, that social evolution is moving, however its complete realisation may, by temporary causes, from time to time be impeded. The insistent demand for increased wages and diminished hours of work has not been inspired by the desire to raise the level of culture in the social environment, or to inaugurate any æsthetic revolution, yet, by “the law of irony” which so often controls the realisation of things, that is the result which may be achieved. The new leisure conferred on the worker may be transformed into spiritual activity, and the liberated utilitarian energy into æsthetic energy. The road would thus be opened for a new human adventure, of anxious interest, which the future alone can reveal.
We cannot be sure that this transformation will take place. We cannot be sure, indeed, that it is possible for it to take place unless the general quality of the population in whom so fine a process must be effected is raised by a more rigid eugenic process than there is yet any real determination among us to exert. Men still bow down before the fetish of mere quantity in population, and that worship may be their undoing. Giant social organisms, like the giant animal species of early times, may be destined to disappear suddenly when they have attained their extreme expansion.
Even if that should be so, even if there should be a solution of continuity in the course of civilisation, even then, as again Jules de Gaultier also held, we need not despair, for life is a fountain of everlasting exhilaration. No creature on the earth has so tortured himself as Man, and none has raised a more exultant Alleluia. It would still be possible to erect places of refuge, cloisters wherein life would yet be full of joy for men and women determined by their vocation to care only for beauty and knowledge, and so to hand on to a future race the living torch of civilisation. When we read Palladius, when we read Rabelais, we realise how vast a field lies open for human activity between the Thebaid on one side and Thelema on the other. Out of such ashes a new world might well arise. Sunset is the promise of dawn.
THE END
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.