Chapter VII: General Summary (2)

Wordsworth did not, however, lay special stress on his belief that the spirit he felt in Nature was divine. He rather took that for granted, or allowed it to be implied in the passionate fulness and intensity of his expressions of gratitude to that spirit for gifts of mind and heart. This sense of indebtedness to Nature found no place in the classical poetry. But in the transition period it receives surprisingly full and varied expression. Sometimes it takes the form of personal gratitude for special gifts; sometimes it is a general statement of what man owes to Nature. A brief review of the more significant passages will serve to show the characteristics of this feeling toward Nature.

To begin with, Nature gives peace. This is the gift most often spoken of. Even John Philips said that Nature calmed his mind. Ambrose Philips liked the songs of birds because they brought him into a mood of “sweet and gentle composure.” Lady Winchilsea enjoyed the night because its influence disposed her heart to silent musings and made her conscious of a “sedate content.” Parnell had long vainly sought contentment until at last his heart received the message of peace through the voices of Nature. Hamilton said that all the passions in the troubled breast of man could be calmed by the quiet of a grove. Thomson finds in Nature a power that can “serene his soul” and “harmonize his heart.” Dyer finds peace and quiet in “the meads and mountain-heads.” Mallet follows Thomson in thought and phrase when he represents that Nature has power to “serene the soul.” Akenside says that the spirit of Nature lulls man’s passions to a divine repose. Cooper says that a contemplation of the order and regularity in Nature’s life will induce a like harmonious action in the human heart, and that the fiercest passions of horror and revenge can be soothed by Nature. Joseph Warton says that all Nature conspires to soothe and harmonize the mind. William Whitehead speaks of the “philosophic calmness” that comes to man from Nature. Beattie’s hermit found in Nature a power that could subdue the wildest passions and give “profound repose.” Bruce found in Nature “harmony of mind.” Bowles felt a “soothing charm” that brought “solace to his heart” and “bore him on serene.” So, too, was it with Cowper. Nature gave him heart-consoling joys, and brought peace and quiet into his life. This power of Nature to soothe the mind of man and to modify his passions receives full expression also in Mrs. Radcliffe’s romances.

Nature gives not only peace and rest to man; she gives him joy. The sense of ecstasy and rapture in this joy has already been indicated in the passages expressive of personal enthusiasm for Nature. Sometimes it was a joy rising out of the delight of agreeable physical sensations, as when Lady Winchilsea felt in the odor of the jonquil a pleasure so keen that it was pain, or when Langhorne sank down oppressed by the boundless charms of field and wood, or such joy as Gray’s convalescent knew when he went out again into Nature. But here a more spiritual joy is referred to. It is rather the disturbing joy of elevated thoughts of which Wordsworth speaks. This uplift of soul in the presence of Nature is felt by Parnell when he seeks to give expression to the great chorus of thanksgiving to God from all existences. Lady Winchilsea and John Langhorne felt it when Nature gave them “thoughts too high to be express’t.” Akenside felt it, and in a truly Wordsworthian sense, when he said that in the presence of Nature the intellect is charmed into a suspension of its graver cares, while love and joy alone possess the soul. Burns finds that Nature exalts, enraptures him, making him conscious of an elevation of soul. And, finally, in Gilpin, we find, though awkwardly expressed, an exact statement of the enthusiastic calm, the visionary joy, with which Wordsworth looked on Nature.

A third gift of Nature is poetical inspiration, and that, too, in the sense in which Wordsworth believed that Nature set him apart for poetry and assisted him in his development. Akenside’s apostrophe to the Wansbeck along whose banks he wandered in childhood, “led in silence by some powerful hand unseen,” his assertion that these influences fixed the color of his life for every future year, his thought of Nature’s “tender discipline” when skies and streams and groves conspire to guide the predestined sons of Fancy, are strikingly Wordsworthian. Langhorne says that in his lonely youth “the woodland genius” came and touched him with the holy flame of poetry. To the “Genius of Westmoreland” he ascribes the sacred fire within his breast. The whole theme of Beattie’s “Minstrel” is, as has been pointed out, the effect of Nature on a poetically sensitive mind.

Nature also gives a wisdom such as books and schools cannot give. The earliest expression of this thought is in Pattison’s comparison of the deep wisdom drawn from Nature and the superficial knowledge of the schools. Gay in the contest between the shepherd who knew Nature and the philosopher who knew cities and books determined that Nature without the schools can make men wise. Langhorne says that “fair Philosophy,” like Poetry, must be sought for in Nature. There is, however, no other eighteenth-century statement of this idea so complete as Cowper’s eulogy of the wisdom of the heart that Nature gives.

Nature is also considered as inspiring to morality and virtue. Gay, in a fable already quoted from, says that Nature can make men “moral” and “good,” if they will learn her lessons. Thomson meditates on Nature because thence he hopes to learn lessons of morality. Mallet says that Nature inspires the soul with “virtuous raptures” and prompts man to forsake sin-born vanities and low pursuits. Akenside’s chief theme is the power of Nature to lead men from petty interests and hurried, sordid lives into a beneficent and ordered activity of the soul. Cooper ascribes to “every natural scene a moral power.” John Langhorne says that the sweet sensations of Nature move the “springs of virtue’s love,” and have a “moral use,” and that religion, fled from books, can be found in Nature whence we first drew both our knowledge and our virtue. Beattie says that the charms of Nature work “the soul’s eternal health.” They inspire love and gentleness. They incite to high living, and the man who neglects them can hardly hope to be forgiven. A pervading thought in Cowper’s poems is his moral and spiritual indebtedness to Nature.

Wordsworth not infrequently indicates his belief that the spirit of Nature consciously blesses man. This idea is sometimes found in the transition poetry, as in Hamilton’s “Contemplation,” and especially in Akenside and Cowper who represent Nature as making the happiness of man “her dear and only aim.”

So far we have discussed the knowledge of Nature and the feeling toward it rather than its use in literature. That this knowledge was abundant and varied, that this feeling was enthusiastic and often deeply reverential, may, perhaps, pass without further question. But a different problem presents itself when we ask what literary use the eighteenth-century poet made of Nature. It must be conceded at the outset that many references to natural facts are not literary at all. In Mallet’s “Excursion,” for instance, his journey through stellar spaces renders frequent mention of the sky and stars inevitable, but the references might as well be to macadamized roads. His purpose is merely to get from one point of vantage to another. Such brief, cold, unpicturesque use of details for purposes of transition are really non-literary. In any tabular statement of an author’s work some discount must be made to allow for this mechanical use of Nature, and in certain authors, as notably Mallet and Young, the discount is large. Another non-literary use of Nature is in the catalogue or summary. John Scott gives the extreme example of this unorganized accumulation of details. The instinct of the artist is wanting. The poet does not even attempt to make Nature a part of a well-fused literary product. He is encumbered by his material. He crowds his canvas. His full and realistic presentation is without artistic reservations. His record is prompted simply by interest in the separate facts. No literary purpose determines his selection or rejection of detail. A recognized theme, unity, proportion, are absent. Such summaries may be of the highest importance as showing the abundance and exactness of the author’s knowledge of Nature, and separate phrases may have real literary quality, but the passage as a whole is no more literary than an inventory.

When, however, a purpose is apparent in the use of Nature, when there is discrimination under the dominance of a central idea, then, however crude and feeble the actual result, there is at least an attempt to use Nature in a literary way.

This dominating purpose may be merely description for its own sake, an attempt to present aspects of Nature in successive, isolated, artistically composed pictures, each complete in itself and having its parts organically related. Such description is entirely objective. Its aim is the reproduction of sights and sounds by which Nature under given conditions appeals to the senses. When highly elaborated its obvious danger is that there will be, in spite of the most artistic management, a certain vagueness and heaviness of effect. There are, nevertheless, very beautiful examples of pure detailed description dissociated from any purpose except that of making a picture in words, in both Thomson and Cowper, and here and there less successful examples in other writers.

A more subtle use of Nature is when the poet assembles his details in order to reproduce not a scene or an aspect of Nature, but the typical impression they have made on his mind. Lady Winchilsea tells many facts about night, but her purpose is not the description of a single night; it is the reproduction of the loving delight and tender awe awakened in her own heart by many soft summer nights. The purpose of Parnell’s descriptive details is the reproduction of the mood of spiritual content induced by certain scenes. Passages such as these are often more or less detailed summaries, but they have literary quality because the motif produces unity of effect.

Again, the facts and descriptions may be adduced in support of a theory, as in Young’s “Night Thoughts,” Akenside’s “Pleasures of the Imagination,” Shenstone’s “Progress of Taste,” Beattie’s “Minstrel,” and Cowper’s “Task.” Here too, an organizing purpose is discernible, though there is the greatest possible difference in the various ways of using the material for the given purpose; Young’s facts, for instance, being used in a cold, argumentative fashion, while Beattie’s and Cowper’s are suffused with emotion.

Another use of Nature is based on the poet’s perception of the analogies between external Nature and human life or character. One outcome of this sense for analogies is in abundant similitudes, a literary use of Nature common in all languages, at all periods. In the pseudo-classical poetry of England we have seen that the similitudes were conventional and superficial. In a period of intimate knowledge and love of the outer world there is stress on the truth and beauty of the picture from Nature as well as on the human fact symbolized, and the analogy is subtly and sympathetically conceived. Wordsworth’s

A violet by a mossy stone
Half hidden from the eye

is perfect in itself as a picture of Nature, and it is exquisitely apt in describing Lucy. He discovered in Nature that which in its inner significance was truly a counterpart of the human idea. With regard to the similitudes of the transition poetry I have noted two interesting facts. In the first place, in proportion to the whole use of Nature, the use of Nature in similitudes is very much less in the transition than in the classical poetry. In the second place, in no other way of using Nature was the changed conception of the outer world so slow to manifest itself. Stock similes persisted even in authors who, in other respects, gave clear evidence of the new spirit. It was apparently easier to be original and individual in a new realm, than to break away from the established conventions of an accepted literary form.

As another outcome of the recognized correspondence between Nature and life the facts of Nature become, as it were, an allegory of human experience. From Dyer on there is a strain of pensive, gently didactic moralizing drawn from the poet’s observation of Nature. A river, however beautiful in itself because of its ceaseless motion, its shifting colors, its varied banks, its progress to the sea, is transformed in the poet’s mind into a symbol of the vicissitudes and the final goal of life. Of the more obvious analogies of this sort we find many examples, but of the highly imaginative use of Nature whereby the external fact, however truly and beautifully perceived, seems hardly thought of except as a symbol of the hidden things of the spirit and of the life to come, we find almost no examples outside of Blake.

The use of Nature in connection with man’s joys or sorrows may be lyrical or it may be dramatic in tone. Under the lyrical use of Nature may be classed the numerous passages in which the poet dwells upon his youth and the early joy he had in forest, stream, and field. The homesick longing, the genuine human feeling, and the marks of local fidelity to fact make this use of Nature usually excellent. It often takes the form of an apostrophe to some specific river or grove or hill. This autobiographic use of Nature is well exemplified in Thomson, Akenside, Beattie, Langhorne, Mickle, Bruce, and Cowper. Again, the poet recounts with lyrical fervor his debt to Nature. He gives thanks for content, joy, peace, serenity, or he implores Nature to appease the longings of his sick heart, to restore his soul to health. In either case there is a mingling of human emotions and details from Nature. Such passages may easily be feebly hysterical, but sometimes as in Dyer, Beattie, Akenside, Langhorne, and Cowper, they are marked by genuine beauty and pathos as well as by directness of vision. Perhaps the best examples of scenes thus indissolubly connected with phases of spiritual experience are Bowles’ sonnets, and unquestionably the highest purely lyrical use of Nature is in Burns’ songs.

Nature is used dramatically when it is made the appropriate background or accompaniment of human life. This use of Nature may be merely to intensify the reader’s impression by certain effects of harmony or contrast. Night, for instance, is considered the appropriate setting for reflections on man’s mortality, as in Young and Parnell. A certain sort of scenery becomes the conventionally fit background for romantic aspirations and dejections, as in all the sentimental melancholy poets. But oftener Nature is not merely a background. It is mingled with the thought and action. This is true of most of the reflective, moralizing poetry, and is true in a more dramatic sense in such pastorals as Ramsay’s and Gay’s where it is impossible to think of the people and their doings apart from the Nature about them. A similar dramatic use of Nature is to be seen in Gray, in Collins, in Ossian, and, in a briefer form, in the Ballads. It is, however, in romantic fiction that this use of Nature is most abundant during the eighteenth century. As background, as accompaniment, and further, even as a force contributing to the progress of the story by its determining influence on mood and character, external Nature plays an important part. This background, indeed, sometimes becomes unduly important, almost usurping the place of the picture, as in Mrs. Radcliffe’s romances.

Nature may, finally, be regarded not only as making a sensuous appeal to man, or as entering in some way into relationship with him, but as having an independent and separate existence. The poet who thus conceives of Nature gives little detailed external description; nor does he think of a scene in its human connotations, but he goes through facts and perceives the spirit of the scene, the essential qualities that make it what it is. Of such use of Nature we find few eighteenth-century examples. It demands not only Wordsworth’s wise passiveness of mood, and clarity of vision, and depth of feeling, but likewise the power to speak the inevitable word.

The detailed study of a barren field in its most barren aspect would be inexcusably dull and dreary from any but the historical point of view. The moment that point of view is adopted interest begins. The study of literature as a growth, and evolution, gives a new significance to periods of transition. The pleasure of the biologist in the lower forms of life is paralleled by the delight of the student of literature in tracing out the first vague, ineffective attempts to express ideas that are afterward regnant.

The final effect of the present study is one of surprise to find how completely the ideas of the early nineteenth-century poetry of Nature were represented in the germ in the eighteenth century. The whole impression is that before the work of such men as Wordsworth, Coleridge, and Scott there was a great stir of getting ready. The love of Nature was awake in the hearts of men. Their eyes were open to her beauty. Their ears drank in her harmonies. Their spirits were conscious of her higher gifts. Before Wordsworth most of his characteristic thoughts on Nature had received fairly explicit statement.

We note also the vitality of the impulse toward Nature as indicated by the many directions in which it pushed out and demanded expression. With little self-conscious direction and independently of each other apparently, the various arts were irresistibly impelled to some sort of expression of the new interest in the external world. Nor can we ignore the fact that behind all forms of art expression there must have been the great impulsive force of a love of Nature active in the hearts of the mute inglorious many.

When at the end of such a period of preparation the great poet comes, he is great by virtue of his power to penetrate beneath literary conventions and to give free, vigorous, adequate expression to the struggling, half-articulate thoughts and feelings of his own age. He is not an inexplicable, isolated phenomenon. He has his natural place in the development. The profound significance of the work that marks an epoch in thought is that it not only directs the future, but it sums up the past.

INDICES

BIBLIOGRAPHICAL INDEX

COLLECTIONS

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“British Poets, Less-Known.” Ed. C. C. Clarke. 3 vols.
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“British Poets.” Ed. Robert Anderson. 13 vols. Edinburgh, 1794.

“Collection of Poems by Several Hands.” Ed. R. Dodsley. 6 vols.
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Reeve, Cora. “Old English Baron.” Mrs. Barbauld’s “British
Novelists,” Vol. 21.

Repton, Humphrey. “Landscape Gardening and Landscape
Architecture.” Ed. J. C. Loudon. London, 1840.

Richardson, Samuel. “Works.” Ed. Leslie Stephen. 12 vols.
London, 1883.

Robertson, David. “Tour through the Isle of Man.” Pinkerton’s
“Collection,” Vol. 2.

Roscommon, Earl of. “Poems.” Dr. Johnson’s “English Poets,” Vol.
10.

Rouquet. “L’etat des arts en Angleterre et L’Irlande.”

Rowe, Nicholas. “Poems.” Dr. Johnson’s “English Poets,” Vol. 26.

Ruskin, John. “Modern Painters,” 2 vols. Brantwood Ed. London,
1891.

Salaman, Malcolm C. “Old Engravers of England.” London, Cassell
& Co., 1907.

Sandby, Thomas. “Thomas and Paul Sandby.”

Savage, Richard. Dr. Johnson’s “English Poets,” Vol. 45.

Scott, John. “Poems.” Anderson’s “British Poets,” Vol. 11, Pt. 2.

Shairp, J. C. “On the Poetic Interpretation of Nature.” Boston,
1890.

Shaw, Rev. Mr. “Tour to the West of England.” Pinkerton’s
“Collection,” Vol. 2.

Shenstone, William. “Poems.” Dr. Johnson’s “English Poets,” Vol.
52. “Unconnected Thoughts on Landscape Gardening,” in “Works.” 3
vols. London, 1764–1769.

Sieveking, Albert. “Gardens Ancient and Modern,” 1899.

Smart, Christopher. “Poems.” Chalmers’ “English Poets,” Vol. 16.
“Song to David.” Clarke’s “Less Known British Poets,” Vol. 3.

Smith, Mrs. Charlotte. “The Old Manor House.”

Smollett, Tobias. “Works.” 6 vols. London, 1890.

Somerville, William. “Poems.” Dr. Johnson’s “English Poets,”
Vol. 47.

Spratt, Thomas. “Poems.” Dr. Johnson’s “English Poets,” Vol. 9.

Stephen, Leslie. “English Thought in the Eighteenth Century.” 2
vols. London, 1887.

Stepney, George. “Poems.” Dr. Johnson’s “English Poets.”

Sterne, Laurence. “Works.” Ed. James P. Browne. 2 vols. London,
1885.

Swift, Jonathan. “Poems.” Dr. Johnson’s “English Poets,” Vols.
39 and 40.

Switzer, Stephen. “The Nobleman, Gentleman, and Gardener’s
Recreation,” 1715 (as “Ichnographia Rustica” 1718).

Symonds, J. A. “Essays Speculative and Suggestive.” London, 1893.

Taine, H. A. “Voyage en Italie.” Paris, 1893.

Temple, Sir William. “Works.” 2 vols. Ed. Jonathan Swift.
London, 1831.

Thompson, William. “Poems.” Anderson’s “British Poets,” Vol. 10.

Thomson, James. “Poetical Works.” 2 vols. Aldine Ed., London,
1867.

Tickell, Thomas. “Poems.” Dr. Johnson’s “English Poets,” Vol. 26.

Veitch, John. “The Feeling for Nature in Scottish Poetry.” 2
vols. Edinburgh, 1887.

Waller, Edmund. “Poems.” Dr. Johnson’s “English Poets,” Vol. 8.

Walpole, Horace. “Works.” 5 vols. London, 1789.

Warton, Joseph. “Poems.” Clarke’s “Less Known British Poets,”
Vol. 3. Dodsley’s “Collection,” Vol. 3. “An Essay on the Genius
and Writings of Pope.” 2 vols. London, 1806.

Warton, Thomas. “Poems.” Anderson’s “British Poets,” Vol. II,
Pt. 2.

Watts, Isaac. “Poems.” Dr. Johnson’s “English Poets,” Vol. 46.

Whateley, Thomas. “Observations on Modern Gardening.” London,
1798.

Whitehead, William. Anderson’s “British Poets,” Vol. II, Pt. 2.

Whitman, Alfred. “The Print Collector’s Handbook,” George Bell,
1901.

Winchilsea, Lady (Anne Finch). “Miscellany Poems on Several
Occasions. Written by a Lady,” 1713. “The Poems of Anne,
Countess of Winchilsea.” Ed. Myra Reynolds. The University of
Chicago Press, 1903.

Wordsworth, William. “Poetical Works.” New York, 1889.

Wright, Thomas, Esq. “The Life of Richard Wilson, Esq., R. A.”
London, 1824.

Yalden, Thomas. “Poems.” Dr. Johnson’s “English Poets,” Vol. 10.

Young, Arthur. “Tour in Ireland.” Pinkerton’s “Collection,”
Vol. 3. “Tour through Southern Counties.” London, 1772. “Tour
in Ireland.” 2 vols. London, 1780. “A Farmer’s Tour.” 4 vols.
London, 1771.

Young, Edward. “Poems.” Dr. Johnson’s “English Poets,” Vols. 50,
51, 52.

GENERAL INDEX

Addison, Joseph, 8, 21, 25, 31, 33, 45, 52, 80, 82, 83, 203–4, 252,
255, 264, 265.

Akenside, Mark, 12, 19, 30, 47, 112, 123–27, 147, 331, 350, 355–63
(_passim_).

Alexander, William, 322.

Allan, David, 314.

Amherst, The Hon. Alicia, 247, 256.

Amory, Thomas, 9, 208–9, 232, 235, 328, 342, 344.

“Anecdotes of Painting” (Walpole), 262, 274, 278, 284, 310, 322.

“Apollo’s Edict” (Swift), 35.

“Appleton House, Upon” (Marvell), 37, 38, 80.

Armstrong, John, 32, 45, 59, 78, 112, 121, 329, 339, 343, 346.

Armstrong, Sir Walter, 282, 298, 306, 308.

Arnold, Matthew, 62, 63.

Attiret, Père, 271.

Bacon, Francis, 248, 256, 264, 265.

Badeslade, Mr., 248.

Bage, Robert, 216.

Bailey, J. T. H., 320.

“Ballads,” 40, 159–61, 363.

“Bard, The” (Gray), 135, 342.

Barlow, Francis, 285.

Barret, George, 312, 313, 325, 342.

Barrington, Mr., 252.

Beattie, James, 147, 167–73, 222, 331, 333, 337, 342, 344, 345,
346, 349, 353, 356, 358, 359, 361, 363.

Becket, Isaac, 277.

Beckford, William, 215, 317.

Beechey, Sir Thomas, 284.

Bellers, William, 291–92, 310, 342.

Biese, Alfred, xv, xvii, 13, 14, 321.

Birch, W., 300.

Blackmore, Richard, 42.

Blair, Robert, 30, 44, 112, 128–29, 158.

Blake, William, 147, 152, 177–80, 222, 342, 344, 362.

Blomfield and Thomas, 247, 255.

Blümner, Hugo, 48.

Bol, Cornélius, 284.

Boswell, James, 241.

Boul, Philip, 284.

Boulton, William, 305, 306, 308.

Bowles, W. L., 142, 147, 199–202, 335, 342, 350, 363.

Boydell, John, 293, 300, 311, 312, 341, 342.

Boyse, Samuel, 112, 118–19, 354.

Brand, John, 224, 327.

Bray, Mr., 241, 242–43.

Bridgeman, Thomas, 259–60.

“Brief Description of the Orkneys” (Brand), 224–25.

“British Painters” (Cunningham), 294, 296.

Brooke, Henry, 212.

Brooke, Mrs., 211, 222, 352.

Brooke, Stopford, xx.

Brooking, Charles, 288.

Broome, William, 19, 20, 21, 26.

Brown, John, 147–48, 227, 232, 235, 240, 241, 323, 328, 337, 338,
342, 344.

Brown, Lancelot, 265–69.

Browning, Mrs., 62, 63.

Bruce, Michael, 147, 161–63, 331, 348, 350, 356.

Brydall, Robert, 294.

Buck, Samuel, 289.

“Buncle, Life of John,” 9, 208–9, 222, 328.

Burney, Fanny, 215.

Burns, Robert, 147, 179, 194–95, 222, 333, 334, 342, 347, 348, 349,
353, 357, 363.

Burroughs, John, xx.

Bushe, Mr., 225.

Butler, Samuel, 34.

Butts, John, 294.

Byrne, William, 300, 301.

“Caleb Williams” (Godwin), 216.

Canot, P. C., 288, 300.

“Castle of Indolence” (Thomson), 85, 322.

“Castle of Otranto” (Walpole), 212.

“Chace, The” (Somerville), 112, 113, 155.

Chambers, Sir William, 271–72.

Charlanne, Louis, 246.

Chaucer, Geoffrey, xix, 40, 62, 63.

Chinese Influence, 268, 271–72.

“Clarissa Harlowe,” 205.

Classical Period, subdivisions, 1–2;
preference for city life, 2–7;
dislike of grand or terrible in Nature, 7;
mountains, 7–15;
ocean, 15–18;
winter, 18–19;
dislike of remote or mysterious, 19;
sky, 19–23;
pleasure in gentler forms, 24;
description traditional and bookish, 25–27;
similitudes, 27–35;
subordination of nature to man, 36–39;
poetic diction, 39–46;
imitative character of poetry, 46–53;
man the supreme interest, 53–57;
summary, 57.

Cleveley, John, 313, 322.

Cleveley, Robert, 314.

Coleridge, S. T., v, 62, 63, 120, 121, 199, 345, 349, 364.

Collins, William, xix, 112, 121–23, 146, 329, 335, 337, 344, 345,
346, 363.

Congreve, William, 19, 26, 30, 36.

Constable, John, vi, 294, 304, 307, 317, 321.

“Constable, Memoir of the Life of John” (C. R. Leslie), 304, 307.

Cooper, J. G., 112, 127–28, 343, 356, 358.

“Cooper’s Hill” (Denham), 32, 80.

“Country Walk, The” (Dyer), 102, 106, 107, 330, 332.

Coventry, Francis, 112, 132, 206, 261, 342, 345.

Cowley, Abraham, 1, 2, 7, 20, 21, 29, 30, 31, 32, 34, 37, 41, 42,
45, 55, 56.

Cowper, William, xix, xx, 62, 64, 88, 147, 173, 184–94, 196, 222,
266;
in General Summary _passim_.

Cozens, Alexander, 292, 311.

Cozens, John Robert, 292, 317–18, 342.

Crabbe, George, 68, 79, 105, 147, 180–84, 333, 342.

Cradock, Joseph, 239, 323.

Cumberland, Richard, 147, 176–77, 241.

Cunningham, Allan, 294, 296, 314.

“Cyder” (J. Philips), 11, 20, 59, 60, 146, 155.

Dalton, Dr. John, 112, 138–39, 146, 226, 232, 240, 241, 340, 347,
350.

Danckerts, Hendrik, 284.

Davenport, Cyril, 277, 280.

“David Simple” (Sarah Fielding), 205.

Dayes, Edward, 316.

“Délices de la Grande Bretagne et de l’Irlande,” 248.

Denham, John, 1, 7, 11, 32, 80.

“Description of the Western Islands of Scotland” (Martin), 224.

“Descriptive Poem, A” (Dalton), 138, 226, 241.

“Deserted Village, The” (Goldsmith), 166.

Devis, Anthony, 300, 311, 312, 322, 342.

“Diary of John Evelyn,” 8, 9, 247.

Diction, 20–24, 39–49, 60, 92–93, 99–100, 101, 105, 109, 124.

Downing, A. J., 263.

Dryden, John, 1, 2, 4, 15, 19, 29, 30, 31, 33, 34, 40, 41, 42, 43,
45, 46, 47, 50, 51, 121, 342.

Duck, Stephen, 111.

Dyer, John, 30, 31, 33, 42, 45, 72, 101–4, 109, 111, 112, 117, 175;
in General Summary _passim_.

“Eclogues” (Gay), 64, 66.

“Eclogues” (Virgil), 51, 66.

Edwardes, Edwards, 298.

“Eighteenth Century Colour Prints” (Frankau), 280.

“Eighteenth Century, English Literature of the” (Perry), xx, 12.

“Eighteenth Century, English Thought in the” (Stephen), xx.

“Eighteenth Century, History of England in the” (Lecky), xx, 14.

“Eighteenth Century Literature, A History of” (Gosse), xx, 64, 163.

“Elegy in a Country Churchyard” (Gray), 133–35.

Elliott, Mr., 300.

“Emily Montague” (Mrs. Brooke), 211–12, 222.

“England and English People” (Miller), 262.

“England, Fine Arts in” (Britton), 300.

“England, The Art of” (Ruskin), 303.

“Englischen Litteraturgeschichte, Drei Studien zur” (Fischer), xx.

“English Literature, An Illustrated History of”
(Gosse and Garnett), 274.

“English Masters, Old” (Van Dyke), 282.

“English Poets” (Ward), 61.

“English Romantic Movement, The” (Phelps), xx, 133.

“English Water-Colour Painters, The Earlier” (Monkhouse), 290, 292,
313, 315, 317, 318.

“Engravers of England, Old” (Salaman), 28, 285.

Engravers. _See_ under Becket, Byrne, Canot, Elliott, Green,
McArdell, Major, Mason, Ravenet, Reynolds, Rooker, Smith,
Vivares, Watson, Watts, Woollett.

“Enthusiast, The” (Warton), 139, 140, 141, 145, 332.

“Entwickelung des Naturgefühls, Die” (Biese), xvii, 13, 14, 18, 21,
321.

“Epistle, Fourth” (Pope), 258, 272, 328.

“Essays Speculative and Suggestive” (Symonds), xx, 24.

“Etat des arts en Angleterre” (Rouquet), 287.

“Euphorion” (Lee), xx, 24, 160.

“Evelina” (Burney), 215.

Evelyn, John, 8, 55, 247, 265.

“Evergreen, The,” 75, 332.

Falconer, Robert, 16–18, 21, 44.

“Farbenzeichnungen bei den römischen Dichtern” (Blümner), 48.

Farington, Joseph, 311, 315, 316, 342.

“Ferdinand Count Fathom” (Smollett), 207.

Fielding, Henry, 118, 205.

Fielding, Sarah, 205.

“Fleece, The” (Dyer), 30, 31, 101, 102, 103, 104, 155, 331, 342.

Fletcher, A. E., 308.

Fletcher, Beaumont, 296, 298, 303.

“Fool of Quality” (Brooke), 212.

Ford Collection of Wilson’s pictures, 302.

“Forest Scenery” (Gilpin), 313.

Fox, Charles, 321.

Frankau, Julia, 280.

“Fresh Fields” (Burroughs), xx.

Fulcher, G. W., 305.

Gainsborough, Thomas, 278, 281–84, 304–9, 311, 315, 320, 328.
For books on, _see_ under Sir Walter Armstrong, Boulton,
Fulcher, Horne.

Galleries, Art:
British Museum Print Room, 290, 292, 293, 300, 302, 311, 318;
Dulwich, 274, 279, 286, 302;
Glasgow, 302;
Hampton Court, 275, 277, 286;
Manchester, 302;
National, 274, 279, 286, 288, 290, 296, 304, 306, 319;
South Kensington, 281, 285, 288, 289, 291, 292, 302, 304, 313,
316, 317, 318, 319;
Wallace, 282, 286;
Whitworth Institute (Manchester), 289;
Royal Academy, 296.

“Garden, Kensington” (Tickell), 42.

Gardening Exhibition, 249.

Gardens, xviii, 132, 133, 208, 231, 238, 242–43, 261–72.

Gardens, Books on. _See_ under Amherst, Attiret, Bacon,
Barrington, Blomfield and Thomas, Chambers, Coventry, Downing,
Evelyn, Goldsmith, Hazlitt, Howe, Langley, Lawson, London,
Mason, Nichols, Repton, Shenstone, Sieveking, Switzer, Temple,
Walpole, Whateley.

Gardens, Oriental, 271–72.

Gardens, Ruins in, 270–71.

Garth, Dr. Samuel, 21, 24, 25, 46.

Gay, John, 6, 20, 21, 29, 30, 45, 51, 59, 64–68, 73, 75, 77, 78,
83, 92, 114, 121, 167, 288;
in General Summary _passim_.

Geikie, Sir Archibald, xx.

“Gentle Shepherd, The” (Ramsay), 73, 75, 76, 77, 314, 331.

Gilpin, Sawrey, 313.

Gilpin, William, 103, 227, 235–39, 241, 268, 269, 313, 316, 327,
328, 343, 357.

Girtin, Thomas, 318.

Goldsmith, Oliver, xix, 147, 165–67, 212, 262, 265, 271, 333.

Goodwin, Gordon, 280.

Gosse, Edmund, xx, 1, 61, 64, 120, 127, 163, 274.

Gower, Lord R. S., 279, 280, 281.

Graeme, James, 147, 155–56.

Graves, Algernon, 310.

Gray, Thomas, xix, 46, 52, 112, 121, 132, 133–36, 146, 147, 172,
176, 230–33, 235, 241, 310;
in General Summary _passim_.

Green, Valentine, 280.

Greene, Matthew, 112, 116, 146.

Greenhill, John, 276.

“Grongar Hill” (Dyer), 42, 72, 102, 103, 104, 105, 106, 107, 349.

“Guardian, The,” 82, 253, 256, 259, 349.

Hagley Park, 261, 262.

Hamilton, Mr., 225, 262.

Hamilton, William, xviii, 112, 117–18, 350, 352, 354, 356, 359.

Hanscome, Elizabeth, xx.

Hassel, Mr., 244.

Hastings, Thomas, 298, 302.

Hawkesworth, John, 210.

Hazlitt, William, 2, 256.

Hearne, Thomas, 315, 322, 325.

“Hermsprong” (Bage), 216.

Highmore, Joseph, 277.

Hill, Aaron, 5, 121.

Hill, Joseph, 185.

“History of Lady Julia Mandeville” (Mrs. Brooke), 211.

Homer, xix, 17, 39, 54.

Hoppner, John, 284.

Horace, 49, 51, 98, 113, 121.

Horne, H. P., 283.

Houseman, Mr., 244.

Howe, Walter, 265.

Howell, James, 8.

Hudson, Thomas, 277.

Huet, D. P., 256.

Hughes, John, 19, 20, 21, 30, 32, 37.

Humboldt, Alexander von, xv, 12, 54, 321.

“Humphrey Clinker” (Smollett), 213–14, 289.

Hutchinson, Mr., 10, 227, 240–41, 324.

“Hymn” (Thomson), 113, 354.

Ibbetson, J. C., 316.

Inchbald, Mrs., 216.

“Influence française en Angleterre” (Charlanne), 246.

Ireland, 225, 228, 230, 294, 295.

Irwin, Viscount, 265.

Jago, Richard, 112, 131, 147, 269, 342, 348, 349.

Jameson, Mrs., 281.

Jervas, Charles, 277.

Johnson, Dr. Samuel, 3, 10, 109, 121, 122, 209–10, 224, 241, 242,
338.

“Johnson, Life of Dr.,” 3, 10.

“Jonathan Wild” (Fielding), 205.

“Joseph Andrews” (Fielding), 205.

“Journal of a Tour to the Hebrides” (Boswell), 241.

“Journey through England” (Macky), 225.

“Journey to the Hebrides” (Johnson), 241.

“Julia de Roubigné” (Mackenzie), 215.

Keats, John, v, 62, 63, 127, 339.

“Kent, Views of” (Badeslade), 248.

Kent, William, 140, 255, 256, 259, 260, 261, 264, 268, 328.

Kip and Knyff, 248, 249.

Klenze, Camillo von, xx.

Kneller, Sir Godfrey, 276–77, 278, 327.

Knight, R. P., 266–68, 317.

“Kosmos,” xv, 12, 55, 321.

Lake District, The English, 10, 14, 138–39, 148, 150, 176, 226–30,
231, 232, 234–35, 238, 241–42, 243, 244, 292, 295, 307–8, 310,
312, 315, 316, 321, 323, 324.

“Lakes, An Excursion to the” (Hutchinson), 10, 240–41.

“Lakes, A Guide to the” (West), 241.

“Lakes, A Journal in the” (Gray), 232, 241, 310.

Lambert, George, 290.

Lambert, James, 312.

Landscape Backgrounds. _See_ under artist’s names: Beechey,
Gainsborough, Highmore, Hoppner, Hudson, Jervas, Kneller, Lely,
Mytens, Oliver, Opie, Raeburn, Reynolds, Richardson, Romney,
Vandyck, Wissing.

Landscape Painting from 1660 to 1800: period 1660–1707, 284–87;
period 1707–1755, 287–95;
period 1755–1800, 295–320;
artists in foreign lands, 321–22;
dominance of foreign models, 322–26.
_See also_ under names of artists; Alexander, Allan, Barlow,
Barret, Bellers, Bol, Boul, Boydell, Buck, Cleveley,
Constable, Cozens, Danckerts, Dayes, Devis, Farington, Fox,
Gainsborough, Gilpin, Girtin, Hearne, Ibbetson, Lambert,
Lankrink, Looten, Lorraine, Loutherbourg, Mengs, Monamy,
Morland, Norris, Pars, Pether, Place, Pocock, Poussin,
Rogers, Rosa, Runciman, Ruysdael, Sandby, Scott, Serres,
Smith, Streater, Sybrecht, Taverner, Turner, Van de Velde,
Vandiest, Van Wyck, Vernet, Verzagen, Webber, Wilson,
Wootten, Zucarelli.

Landscape Painting, Books on. _See_ under following authors;
Armstrong (Sir Walter), Baily, Biese, Boulton, Brydall,
Cunningham, Davenport, Fletcher (A. E.), Fletcher (Beaumont),
Frankau, Fulcher, Goodwin, Gower, Graves, Hastings, Horne,
Leslie, Manson, Monkhouse, Nettleship, Peter Pindar, Reynolds,
Rouquet, Ruskin, Salaman, Sandby (William), Smith (J. T.),
Thornbury, Van Dyke, Walpole, Whitman, Wright.

Langhorne, John, 147, 148–51, 344, 349, 350, 352, 357, 358, 363.

Langley, Batty, 257–58, 271.

Lankrink, Henry, 284.

Latin, Imitation of, 46–51, 60, 98.

Lawson, William, 248.

Leasowes, 262–63.

Lecky, W. E. H., xx, 14.

Lee, Vernon, xx, 24.

Lely, Sir Peter, 270, 275–76, 277, 281, 284, 285.

Le Nôtre, 246, 247, 248, 327.

Lennox, Mrs., 207.

Leprade, Victor de, xvi.

Leslie, C. R., 304, 307.

“Letter from Keswick” (Brown), 14, 226–27, 241, 323, 328, 337, 338.

“Letters from Antrim” (Hamilton), 225.

Letters quoted:
Beattie, 170;
Bolingbroke, 6;
Brown, 14, 226;
Burns, 194;
Cowper, 173, 184, 185, 186;
Gainsborough, 305, 307, 309;
Goethe, 14;
Gray, 172, 231;
Howell, 8;
Lyttleton, 172;
Montagu, 4;
Petrarch, 12;
Pope, 2, 3, 6, 18, 19, 82, 256;
Thomson, 85, 95, 96, 108;
Walker, 195;
Walpole, 255.

Linton, Sir James D., 304.

Logan, John, 147, 163–64, 336, 339.

London, George, 246, 247.

Longford, Mr., 325.

Lock, Rev. John, 313.

Lock, William, 296, 298.

Looten, John, 284.

Lorraine, Claude, 264, 287, 291, 294, 312, 322, 323, 324.

Loutherbourg, James de, 314, 315.

Lowell, J. R., 33, 348.

Lyttleton, Lord, 5, 7, 18, 26, 148, 172, 261.

McArdell, J., 277, 280.

MacClintock, W. D., 93.

Mackenzie, Henry, 213, 215, 352.

McLaughlin, Edward T., xx, 13, 19, 23.

Macky, Mr., 225.

Macpherson, James, xx, 147, 156–59.

Major, Thomas, 305.

Mallet, David, 3, 33, 45, 84, 85, 107–9, 111, 112, 224;
in General Summary _passim_.

“Man of Feeling, The” (Mackenzie), 213.

Manson, James A., 320.

Marriott, Mr., 27.

Martin, Mr., 224.

Marvell, Andrew, 2, 10, 34, 37, 38, 80, 87.

Mason, I., 291, 300.

Mason, William, 112, 132–33, 240, 250, 255, 256, 263–64, 270, 323,
324.

“Mediaeval Life and Literature” (McLaughlin), xx, 13, 19, 24.

Mendes, Moses, 112, 130–31, 339.

Mengs, Raphael, 284.

Mickle, W. J., 147, 153–55;
in General Summary _passim_.

Miller, Hugh, 262.

Milton, John, xvii, xix, 2, 11, 30, 31, 33, 44, 47, 62, 63, 89, 93,
121, 132, 140, 142, 144, 156, 162, 200, 254, 256, 264.

“Minstrel, The,” 167, 172, 173, 331, 333, 346, 358, 361.

“Modern Painters” (Ruskin), xvi, 23, 54.

Monamy, Peter, 288, 325.

Monkhouse, Cosmo, 289, 292, 313, 315, 317, 318.

Montagu, Lady M. W., 18, 19, 265.

Morland, George, 285, 318–20.
For books on, _see_ under authors: Bailey, Manson,
Nettleship.

Moor Park, 250.

Morel, Leon, 201.

Mountains, 8, 9, 10, 11, 12, 13, 14, 15, 59, 65, 68, 77, 99, 104,
131, 132, 135, 138–39, 140, 153, 156, 162, 170, 176, 208–9,
213–14, 220–21, 226–27, 231, 237, 238, 239, 240, 301, 307–8,
311, 312, 315, 317–18, 321, 341–42, 349–50.

“Mysteries of Udolpho” (Radcliffe), 219, 222.

Mytens, Daniel, 275.

“Naive und sentimentalische Dichtung” (Schiller), xv.

“Nature in German Literature, Treatment of” (Batt), xx.

“Nature in Old English Poetry, Feeling for” (Hanscome), xx, 11.

“Nature in Scottish Poetry, Feeling for” (Veitch), xviii, 18, 55,
81.

“Nature in Works of Nicholas Lenau, Treatment of” (Von Klenze), xx.

Nettleship, J. T., 320.

Nichols, Rose S., 248, 251.

“Night Thoughts” (Young), 21, 30, 120, 361.

“Nocturnal Revery” (Winchilsea), 62, 337, 348, 354.

Norris, John, 293, 294.

“Observations on the Faerie Queen” (Warton), 145.

“Observations on Picturesque Beauty” (Gilpin), 268.

Ocean, 15–18, 69, 99, 119–20, 154.

“Ode to Evening” (Collins), 329, 345.

“Old English Baron, The” (Reeve), 214.

“Old Manor House” (Mrs. Smith), 217–19.

Oliphant, Mrs., 277.

Oliver, Isaac, 274.

Opie, John, 284.

Paltock, Robert, 206.

“Pamela” (Richardson), 304–5.

“Paradise Lost” (Milton), 30, 31, 44, 46, 254, 334.

Parnell, Thomas, 12, 21, 26, 31, 33, 45, 48, 59, 68–71, 83, 106,
117, 271;
in General Summary _passim_.

Pars, William, 322.

Pasquin, Anthony, 324.

“Pastorals” (A. Philips), 51, 60, 61, 66, 67, 80, 332.

“Pastorals” (Gay), 66–68.

“Pastorals” (Pope), 51.

Pattison, William, 59, 71–72, 331, 358.

Pennant, Thomas, 233–35, 240, 241, 344.

Pennecuik, Alexander, 9, 73, 225.

Percy, Bishop, 40, 159–61.

“Peregrine Pickle” (Smollett), 207.

Perry, T. S., xx, 12.

Peter Pindar. _See_ Wolcot.

“Peter Wilkins” (Paltock), 206.

Pether, Abraham, 316.

Petrarch, 12.

Phelps, W. L., xx, 133.

Philips, Ambrose, 30, 35, 51, 59, 60–61, 66, 82, 83, 332, 335, 339,
352, 356.

Philips, John, 11, 20, 58, 59–60, 146, 336, 341, 344, 356.

Pitt, Christopher, 19, 20, 21, 42, 45, 50.

Place, Francis, 285.

“Pleasures of the Imagination” (Akenside), 12, 123, 124, 125, 126,
331, 361.

Pocock, Nicholas, 314.

“Poetic Interpretation of Nature” (Veitch), xix, 59, 93.

“Pompey the Little” (Coventry), 206.

Pope, Alexander, xviii, 2, 3, 5, 12, 16, 18, 26, 30, 32, 33, 39,
40, 47, 48, 50, 51, 52, 57, 61, 66, 80, 81, 82, 83, 98, 111,
113, 121, 142, 146, 253, 255, 256, 258, 259, 264, 265, 272,
327.

“Pope, Essay on” (Warton), 81, 142, 143, 147, 333.

Portraiture, Landscape in. _See_ Landscape Backgrounds.

Potter, Rev. R., 136–37, 336, 342, 348, 349.

Poussin, Nicholas, 176, 262, 287, 322, 323, 324.

Price, Sir Uvedale, 267–68.

Prior, Matthew, 20, 21, 22, 26, 30, 32, 33.

“Quixote, The Spiritual” (Lennox), 267, 270.

Radcliffe, Mrs., 219–22, 241, 327, 328, 334, 343, 344, 348, 357.

Raeburn, Sir Henry, 284.

Ramsay, Allan, xviii, xix, 32, 59, 72–77, 83, 113, 143, 146;
in General Summary _passim_.

“Rasselas” (Johnson), 209–11.

Rathbone, John, 316.

Ravenet, S. F., 288.

Reeve, Clara, 209–11.

“Reliques of Ancient Poetry” (Percy), 41, 159.

Relph, Joseph, 112, 128–29, 146, 147, 241, 336.

Repton, Humphrey, 256, 268–69, 327.

Reynolds, Sir Joshua, 278, 279–81, 283, 303.
For books on, _see_ under authors: Davenport, Frankau,
Goodwin, Gower, Salaman, Whitman.

Reynolds, S. W., 280.

Riccaltoun, Robert, 59, 78, 79, 346.

Richardson, Jonathan, 277.

Richardson, Samuel, 102, 204, 205, 207, 327.

“Ride over Skiddaw” (Radcliffe), 241.

Robertson, Mr., 245.

“Robinson Crusoe” (Defoe), 204.

“Roderick Random” (Smollett), 205.

Rogers, Mr., 294.

“Romance of a Forest” (Radcliffe), 219, 222.

Romney, George, 284.

Rooker, E. and M., 300, 301.

Rosa, Salvator, 177, 262, 264, 287, 322, 323, 324.

Rouquet, M., 287, 288, 295.

Rousseau, J. J., 14, 141.

Rudworth, Mr., 244.

Runciman, Alexander, 293.

Ruskin, John, xvi, 23, 54, 303, 318.

Ruysdael, Jacob I., 264, 285, 287, 323, 324.

Salaman, M. C., 280, 286.

Sandby, Paul, 290, 293, 311–12, 313, 341, 342.

“Sandby, Thomas and Paul” (Sandby), 311.

Sandby, William, 311.

Savage, Richard, 19, 29, 109–11, 336, 340, 346.

Scotland, 224, 231, 233, 234, 241–42, 244, 285, 287, 293, 294, 295,
312, 315, 318, 320, 338, 349.

“Scotland, Second Tour in” (Pennant), 233.

Scott, John, 19, 147, 173–76, 180, 193, 222, 310;
in General Summary _passim_.

Scott, Samuel, 288, 310, 325.

Scott, Sir Walter, v, xvii, xx, 262, 349, 364.

“Seasons, The.” _See_ Thomson.

“Sentiment de la nature, La” (Laprade), xvi.

“Sentimental Journey, A” (Sterne), 213.

Serres, Dominic, 313.

Serres, J. T., 314, 325.

Seymour, James, 288.

Shairp, J. C., xix, 59, 77, 93.

“Shakespeare to Pope, From” (Gosse), 1.

Shakspere, William, xvi, xvii, xviii, xix, 41, 121, 142, 200.

Shaw, Rev. Mr., 244.

Shelley, P. B., v, xvii, 15, 62, 63, 121, 180, 339, 345, 346.

Shenstone, William, 5, 7, 19, 21, 26, 37, 45, 47, 48, 112, 113–16,
143, 146, 147, 175, 262–63, 269;
in General Summary _passim_.

“Shepherd’s Week, The” (Gay), 64, 66.

“Shipwreck, The” (Falconer), 17, 21, 45.

Sheridan, P. B., 28.

Sieveking, A. F., 249, 257.

“Simple Story, A” (Inchbald), 216.

“Sir Charles Grandison” (Richardson), 207–8.

“Sir Launcelot Greaves” (Smollett), 210.

“Sir Roger de Coverley” (Addison), 203.

Smart, Christopher, 146, 147, 151–53.

Smith, Mrs. Charlotte, 216–19, 334.

Smith, George (of Chichester), 291, 324.

Smith, J. R., 277, 280.

Smith, J. T., 319.

Smith, Thomas (of Derby), 290, 292, 310, 325.

Smollett, Tobias, 205, 207, 210, 213–14, 289, 342, 350.

Somerville, William, 21, 30, 32, 41, 42, 112–13, 146, 147.

“Song to David” (Smart), 151.

Southcote, Philip, 261.

Southey, Robert, 128, 199.

“Spectator, The,” 82, 252.

Spenser, Edmund, xvii, 83, 121, 136, 142, 264.

Stephen, Leslie, xx.

Sterne, Laurence, 210, 213, 343.

Streater, Robert, 285.

Stubbs, George, 288, 311.

“Studies in Poetry and Philosophy” (Shairp), xx.

Swaine, Francis, 325.

Swift, Jonathan, 35, 92.

Switzer, Stephen, 254, 260.

Sybrecht, John, 284.

Symonds, J. A., xx, 24, 29.

“Symphones, Les” (Laprade), xxi.

Taine, H. A., 56.

“Task, The” (Cowper), 184, 185, 187, 188, 189, 190, 191, 192, 266,
361.

“Tatler, The,” 251.

Taverner, William, 289–90.

Temple, Sir William, 249–50, 265.

Tennyson, Alfred, 66, 180.

Theocritus, 51, 55.

“Theology in the English Poets” (Brooke), xx.

“Theory of the Earth” (Burnet), 9, 22.

Thompson, William, 112, 129–30.

Thomson, James, xvi, xvii, xviii, xix, xx, 32, 45, 46, 58, 59, 61,
64, 73, 78, 79, 80, 81, 83–101, 106, 107, 108, 109, 111, 113,
119, 121, 130, 140, 141, 142, 143, 167, 172, 174, 175, 190,
193, 196, 210, 272, 320, 322;
in General Summary _passim_.

“Thomson, James: La vie et ses œuvres” (Morel), 101.

Thornbury, Walter, 315.

Tickell, Thomas, 12, 21, 29, 42, 52, 116.

“Tom Jones” (Fielding), 118, 205–6.

Tours. _See_ under Boswell, Brand, Bray, Brown, Bushe,
Cradock, Gilpin, Gray, Hamilton, Hassell, Houseman, Hutchinson,
Johnson, Macky, Martin, Pennant, Pennecuik, Robertson,
Rudworth, Shaw, Walker, West, Young (Arthur).

“Trees, Thirty-two Species of” (Alex. Cozens), 311.

“Tristram Shandy” (Sterne), 210.

Turner, J. M. W., vi, 304, 318, 320, 327, 328, 343.

“Types of Scenery and Their Influence on Literature” (Geikie), xx.

Unwin, Rev. William, 185, 186.

Van de Velde, the Elder, 284, 286.

Van de Velde, the Younger, 284, 286, 287, 288, 325.

Vandiest, Adrien, 285.

Vandyck, Sir Anthony, 274, 275, 276, 277, 278, 279.

Van Dyke, John, 282.

Van Wyck, Jan, 285.

“Vathek” (Beckford), 215.

Veitch, John, xviii, 11, 18, 55, 81.

Vernet, C. J., 284.

Verzagen, Henry, 284.

“Vicar of Wakefield” (Goldsmith), 212.

“Village, The” (Crabbe), 181, 182.

Virgil, 263.

Vivares, François, 291, 310.

“Voyage en Italie” (Taine), 56.

Wales, 236, 239, 244, 293, 295, 300, 301, 311, 312, 315, 316, 320,
323, 349.

Walker, Mr., 244.

Waller, Edmund, 1, 7, 10, 15, 20, 21, 27, 29, 30, 31, 36, 37, 39,
43, 48, 327.

Walpole, Horace, 212, 250, 254, 255, 256, 259, 260, 262, 265, 274,
275, 277, 278, 284, 306, 310, 322.

Warton, Joseph, 81, 111, 112, 134, 139–43, 146, 147, 199, 200;
in General Summary _passim_.

Warton, Thomas, 112, 143–45, 344, 346, 351.

Watson, Caroline, 280.

Watts, Isaac, 7, 20, 21, 30, 36, 50.

Watts, W., 300.

Webber, John, 322.

West, Mr., 227, 241, 324.

Whately, Thomas, 265.

Whitehead, William, 112, 145–46, 332, 356.

Whitman, Alfred, 280.

“Wilson, Etchings after Richard” (Hastings), 302.

Wilson, Richard, 287, 296–304, 309, 310, 311, 314, 315, 316, 328,
342.
For books on Wilson _see_ under authors: Beaumont, Fletcher,
Ruskin, Wright.

“Wilson, Studies and Designs by,” 302.

“Wilson, Thirty-seven Sketches and Designs by,” 302.

Winchilsea, Lady, vi, 23, 59, 61–64, 83, 117, 249, 271;
in General Summary _passim_.

Wissing, William, 276.

Wolcot, John, 314.

Woollett, William, 301, 302.

Wootten, John, 288, 325.

Wordsworth, William, v, xvii, xviii, xix, xx, 6, 7, 19, 23, 27, 33,
37, 38, 45, 50, 58, 61, 63, 64, 68, 72, 80, 81, 93, 97, 101,
105, 118, 121, 124, 125, 126, 134, 136, 139, 143, 148, 151,
165, 169, 172, 177, 180, 190, 191, 193, 239, 244, 301, 320;
in General Summary _passim_.

Wright, Richard, 313.

Yalden, John, 11, 20, 31, 42.

Young, Arthur, 228–30, 232, 241, 344, 348, 355.

Young, Edward, 5, 15, 16, 20, 21, 22, 30, 31, 89, 112, 119–21, 147,
359, 361, 363.

“Zeitschrift für Litteraturgeschichte,” xvii.

“Zeluco” (Moore), 216.

Zucarelli, A., 297.

FOOTNOTES: