Chapter VII: Conclusion (3)

Oswald Spengler, _Der Untergang des Abendlandes_, vol. I (1918); vol.
II (1922).

Footnote 124:

In an interesting pamphlet, _Pessimismus?_ Spengler has since pointed
out that he does not regard his argument as pessimistic. The end of a
civilisation is its fulfilment, and there is still much to be achieved
(though not, he thinks, along the line of art) before our own
civilisation is fulfilled. With Spengler’s conception of that
fulfilment we may, however, fail to sympathise.

Footnote 125:

See, for instance, W. L. Newman, _The Politics of Aristotle_, vol. 1,
p. 201, and S. H. Butcher, _Aristotle’s Theory of Poetry and Fine
Art_, p. 119.

Footnote 126:

Beauty is a dangerous conception to deal with, and the remembrance of
this great saying may, perhaps, help to save us from the degrading
notion that beauty merely inheres in objects, or has anything to do
with the prim and smooth conventions which make prettiness. Even in
the fine art of painting it is more reasonable to regard prettiness as
the negation of beauty. It is possible to find beauty in Degas and
Cézanne, but not in Bouguereau or Cabanel. The path of beauty is not
soft and smooth, but full of harshness and asperity. It is a rose that
grows only on a bush covered with thorns. As of goodness and of truth,
men talk too lightly of Beauty. Only to the bravest and skilfullest is
it given to break through the briers of her palace and kiss at last
her enchanted lips.

Footnote 127:

Ruskin was what Spinoza has been called, a God-intoxicated man; he had
a gift of divine rhapsody, which reached at times to inspiration. But
it is not enough to be God-intoxicated, for into him whose mind is
disorderly and ignorant and ill-disciplined the Gods pour their wine
in vain. Spinoza’s mind was not of that kind, Ruskin’s too often was,
so that Ruskin can never be, like Spinoza, a permanent force in the
world of thought. His interest is outside that field, mainly perhaps
psychological in the precise notation of a particular kind of æsthetic
sensibility. The admiration of Ruskin cherished by Proust, himself a
supreme master in this field, is significant.

Footnote 128:

Butcher, _Aristotle’s Theory of Poetry and Fine Art_, chap. V, “Art
and Morals.” Aristotle could have accepted the almost Freudian view of
Croce that art is the deliverer, the process through which we overcome
the stress of inner experiences by objectifying them (_Æsthetics as
Science of Expression_, p. 35). But Plato could not accept Croce,
still less Freud.

Footnote 129:

Schopenhauer, _Die Welt als Wille und Vorstellung_ (1859), vol. II, p.
442. For a careful and detailed study of Schopenhauer’s conception of
art, see A. Fauconnet, _L’Esthétique de Schopenhauer_ (1913).

Footnote 130:

I find that I have here negligently ascribed to Bergson a metaphor
which belongs to Croce, who at this point says the same thing as
Bergson, though he gives it a different name. In _Æsthetics as Science
of Expression_ (English translation, p. 66) we read: “The world of
which as a rule we have intuition [Bergson could not have used that
word here] is a small thing.... ‘Here is a man, here is a horse, this
is heavy, this is hard, this pleases me,’ etc. It is a medley of light
and colour, which could not pictorially attain to any more sincere
expression than a haphazard splash of colour, from among which would
with difficulty stand out a few special distinctive traits. This and
nothing else is what we possess in our ordinary life; this is the
basis of our ordinary action. It is the index of a book. The labels
tied to things take the place of things themselves.”

Footnote 131:

H. Bergson, _Le Rire_. For a clear, concise, and sympathetic
exposition of Bergson’s standpoint, though without special reference
to art, see Karin Stephen, _The Misuse of Mind_.

Footnote 132:

This may seem to cast a critical reflection on Croce. Let me,
therefore, hasten to add that it is merely the personal impression
that Croce, for all his virtuous aspirations after the concrete, tends
to fall into verbal abstraction. He so often reminds one of that old
lady who used to find (for she died during the Great War) such
spiritual consolation in “that blessed word Mesopotamia.” This refers,
however, to the earlier more than to the later Croce.

Footnote 133:

H. Rickert, _System der Philosophie_, vol. I (1921).

Footnote 134:

Before Baumgarten this distinction seems to have been recognised,
though too vaguely and inconsistently, by Hutcheson, who is so often
regarded as the real founder of modern æsthetics. W. R. Scott
(_Francis Hutcheson_, p. 216) points out these two principles in
Hutcheson’s work, “the Internal Senses, as derived from Reflection,
representing the attitude of the ‘Spectator’ or observer in a picture
gallery while, on the other hand, as deduced from εὐέργεια find a
parallel in the artist’s own consciousness of success in his work,
thus the former might be called static and the latter dynamic
consciousness, or, in the special case of Morality, the first applies
primarily to approval of the acts of others, the second to each
individual’s approval of his own conduct.”

Footnote 135:

This would probably be recognised even by those moralists who, like
Hutcheson, in their anxiety to make clear an important relationship,
have spoken ambiguously. “Probably Hutcheson’s real thought,” remarks
F. C. Sharp (_Mind_, 1921, p. 42), “is that the moral emotion, while
possessing many important affinities with the æsthetic, is in the last
resort different in content.”

Footnote 136:

Schopenhauer long ago pointed out that a picture should be looked at
as a royal personage is approached, in silence, until the moment it
pleases to speak to you, for, if you speak first (and how many critics
one knows who “speak first”!), you expose yourself to hear nothing but
the sound of your own voice. In other words, it is a spontaneous and
“mystical” experience.

Footnote 137:

It is through Plotinus, also, that we realise how æsthetics is on the
same plane, if not one, with mysticism. For by his insistence on
Contemplation, which is æsthetics, we learn to understand what is
meant when it is said, as it often is, that mysticism is
Contemplation. (On this point, and on the early evolutions of
Christian Mysticism, see Dom Cuthbert Butler, _Western Mysticism_
(1922).)

Footnote 138:

Really, however, Plotinus was here a Neo-Aristotelian rather than a
Neo-Platonist, for Aristotle (_Ethics_, book X, chap. 6) had put the
claim of the Contemplative life higher even than Plato and almost
forestalled Plotinus. But as Aristotle was himself here a Platonist
that does not much matter.

Footnote 139:

See Inge, _Philosophy of Plotinus_, p. 179. In a fine passage (quoted
by Bridges in his _Spirit of Man_) Plotinus represents contemplation
as the great function of Nature herself, content, in a sort of
self-consciousness, to do nothing more than perfect that fair and
bright vision. This “metaphysical Narcissism,” as Palante might call
it, accords with the conception of various later thinkers, like
Schopenhauer, and like Gaultier, who however, seldom refers to
Plotinus.

Footnote 140:

R. Schmidt, _Deutsche Philosophie der Gegenwart in
Selbstdarstellungen_ (1921), vol. II.

Footnote 141:

E. Förster-Nietzsche, _Das Leben Nietzsches_, vol. II, p. 99.

Footnote 142:

W. M. Salter in his _Nietzsche the Thinker_—probably the best and most
exact study of Nietzsche’s thought we possess—summarises Nietzsche’s
“æsthetic metaphysics,” as he terms it (pp. 46-48), in words which
apply almost exactly to Gaultier.

Footnote 143:

See especially his book _Über den Nervösen Charakter_ (1912). It has
been translated into English.

Footnote 144:

Jules de Gaultier, _Le Bovarysme_, and various other of his works.
Georges Palante has lucidly and concisely expounded the idea of
Bovarism in a small volume, _La Philosophie du Bovarysme_ (_Mercure de
France_).

Footnote 145:

Gaultier has luminously discussed the relations of War, Civilisation,
and Art in the _Monde Nouveau_, August, 1920, and February, 1921.

Footnote 146:

These are problems concerning which innocent people might imagine that
the wise refrained from speculating, but, as a matter of fact, the
various groups of philosophic devotees may be divided into those
termed “Idealists” and those termed “Realists,” each assured of the
superiority of his own way of viewing thought. Roughly speaking, for
the idealist thought means the creation of the world, for the realist
its discovery. But here (as in many differences between Tweedledum and
Tweedledee for which men have slain one another these thousands of
years) there seem to be superiorities on both sides. Each looks at
thought in a different aspect. But the idealist could hardly create
the world with nothing there to make it from, nor the realist discover
it save through creating it afresh. We cannot, so to put it, express
in a single formula of three dimensions what only exists as a unity in
four dimensions.

Footnote 147:

Bertrand Russell, _Principles of Social Reconstruction_ (1916), p.
235.

Footnote 148:

I may here be allowed to refer to another discussion of this point,
Havelock Ellis, _The Philosophy of Conflict, and Other Essays_, pp.
57-68.

Footnote 149:

I may remark that Plato had long before attributed the same
observation to the Pythagorean Timæus in the sublime and amusing
dialogue that goes under that name: “Sight in my opinion is the source
of the greatest benefit to us, for had we never seen the stars, and
the sun, and the heavens, none of the words which we have spoken about
the universe would ever have been uttered. But now the sight of day
and night, and the months and the revolution of the years, have
created Number, and have given us a conception of Time, and the powers
of inquiring about the Nature of the Universe, and from this source we
have derived philosophy, than which no greater good ever was or will
be given by the gods to mortal man.”

Footnote 150:

Jules de Gaultier, “La Guerre et les Destinées de l’Art,” _Monde
Nouveau_, August, 1920.

Footnote 151:

Thus Einstein, like every true man of science, holds that cultural
developments are not to be measured in terms of utilitarian technical
advances, much as he has himself been concerned with such advances,
but that, like the devotee of “Art for Art’s sake,” the man of science
must proclaim the maxim, “Science for Science’s sake.”

Footnote 152:

In the foregoing paragraphs I have, in my own way, reproduced the
thought, occasionally the words, of Jules de Gaultier, more especially
in “La Moralité Esthétique” (_Mercure de France_, 15th December,
1921), probably the finest short statement of this distinguished
thinker’s reflections on the matter in question.

Footnote 153:

Guyau, _L’Art au Point de Vue Sociologique_, p. 163.

Footnote 154:

This diffused æsthetic sense is correlated with a diffused artistic
instinct, based on craftsmanship, which the Greeks were afraid to
recognise because they looked down with contempt on the handicrafts as
vulgar. William Morris was a pioneer in asserting this association. As
a distinguished English writer, Mr. Charles Marriott, the novelist and
critic, clearly puts the modern doctrine: “The first step is to
absorb, or re-absorb, the ‘Artist’ into the craftsman.... Once agree
that the same æsthetic considerations which apply to painting a
picture apply, though in a different degree, to painting a door, and
you have emancipated labour without any prejudice to the highest
meaning of art.... A good surface of paint on a door is as truly an
emotional or æsthetic consideration as ‘significant form,’ indeed it
_is_ ‘significant form.’” (_Nation and Athenæum_, 1st July, 1922.)
Professor Santayana has spoken in the same sense: “In a thoroughly
humanised society everything—clothes, speech, manners, government—is a
work of art.” (_The Dial_, June, 1922, p. 563.) It is, indeed, the
general tendency to-day and is traceable in Croce’s later writings.

Footnote 155:

Thus it has often been pointed out that the Papuans are artists in
design of the first rank, with a finer taste in some matters than the
most highly civilised races of Europe. Professor R. Semon, who has
some remarks to this effect (_Correspondenzblatt_ of the German
Anthropological Society, March, 1902), adds that their unfailing
artistic sense is spread throughout the whole population and shown in
every object of daily use.

Footnote 156:

The presence of a small minority of abnormal or perverse persons—there
will be such, we may be sure, in every possible society—affords no
excuse for restricting the liberty of the many to the standard of the
few. The general prevalence of an æsthetic morality in classic times
failed to prevent occasional outbursts of morbid sexual impulse in the
presence of objects of art, even in temples. We find records of
Pygmalionism and allied perversities in Lucian, Athenæus, Pliny,
Valerius Maximus. Yet supposing that the Greeks had listened to the
proposals of some strayed Puritan visitor, from Britain or New
England, to abolish nude statues, or suppose that Plato, who wished to
do away with imaginative literature as liable to demoralise, had
possessed the influence he desired, how infinite the loss to all
mankind! In modern Europe we not only propose such legal abolition; we
actually, however in vain, carry it out. We seek to reduce all human
existence to absurdity. It is, at the best, unnecessary, for we may be
sure that, in spite of our efforts, a certain amount of absurdity will
always remain.

Footnote 157:

A. M. Carr-Saunders, _The Population Problem: A Study in Human
Evolution_ (Oxford Press, 1922).

Footnote 158:

J. de Gaultier, “Art et Civilisation,” _Monde Nouveau_, February,
1921.

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;
differentiated from other instincts, 346;
has the character of morality, 346.

Æsthetic intuitionism, 260, 276, 279, 314.

Æsthetic sense, development of, indispensable for civilisation, 345;
realises morality when unburdened with moral intentions, 346;
mixed with primitive manifestations of life, 350;
correlated with diffused artistic instinct, 350 _n._;
seems to be decreasing, 350-52.

Æsthetics, and ethics, among the Greeks, 247;
with us, 348;
in the Greek sense, 263;
the founders of, 271, 329;
and art, the unlikeness of, 325-28;
on same plane with mysticism, 330 _n._

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;
in style, 158-61, 190.

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;
on tragedy, 56;
on the Mysteries, 242;
on the moral quality of an act, 248;
his use of the term “moral sense,” 273;
on Art and Nature in the making of the State, 313;
his use of the term “artists,” 313;
his view of poetry, 318;
and the contemplative life, 330 _n._

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._;
and sciences, 68-70;
Master of, 69.

“Arty” people, 6, 7.

“As if,” germs of doctrine of, in Kant, 87;
world of, and Plato’s “Ideas,” 88;
source of the phrase, 88, 89;
seen in play, 89;
the doctrine of, not immune from criticism, 102;
fortifying influence of the doctrine, 102, 103.
_See_ Fiction, Vaihinger.

Asceticism, has nothing to do with normal religion, 222, 223;
among the Greeks, traced, 249 _n._;
and Christianity, 249 _n._

Asclepios, the cult of, 197 _n._

Atavism, in handwriting, 157, 158;
in style, 158-61, 190.

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;
his statement of the mystical core of religion, 207;
adopted æsthetic criterion of moral action, 279.

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;
his style compared with that of Shakespeare, 160;
the music of his style, 163;
heavy and formal letters of, 184;
his axiom, the right question is half the knowledge, 325.

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;
the germ of, to be found in ancient Rome, 56;
origin of the modern, 56;
the Italian and the French, 56-58;
decline of, 58;
the Russian, 58-60;
the Swedish, 60.

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;
as an element of literary style, 176-78;
and the good, among the Greeks, 247;
Plotinus’s doctrine of, 250, 251;
of virtue, 270 _n._;
æsthetic contemplation creates, 315, 327, 328;
and prettiness, 315 _n._;
revelation of, sometimes comes as by a process of “conversion,” 328,
329.

Bee, the, an artist, 312.

Beethoven, 311;
his Seventh Symphony, 62, 63.

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;
his attitude toward Leonardo da Vinci, 114, 117.

Bergson, Henri Louis, pyrotechnical allusions frequent in, 23;
regards philosophy as an art, 83, 84;
on clarity in style, 176, 177;
his idea of intuition, 232 _n._;
on reality, 320.

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;
applied to the Universe, 337;
a necessary, effected by the artist, 348, 349.

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;
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.