Chapter IV: Preface (4)

[63] The “Joan Sanderson” was a dance in which each one of the company takes part. It began by the first dancer’s choosing a partner, who in turn chose another, the chain continuing until each one had danced alone and with a partner. See G. C. M. Smith, _Fucus Histriomastix_, _Introduction_, p. xviii.

[64] _Apology_, I, 85.

[65] _Ibid._, I, 194-5.

[66] _Dramatic Miscellanies_, III, 432.

[67] See Miles, _The Influence of Moliere on Restoration Comedy_, 1910: published after this paper was written.

[68] Celadon, in Dryden’s _Marriage a la Mode_, enters marriage with the distinct expectation that his wife will be untrue to him.

[69] At the Restoration ten of the actors were attached to the household establishment as the king’s menial servants, and ten yards of scarlet cloth with an amount of lace were allowed them for liveries. This connection lasted until Anne’s time. Genest, II, 362.

[70] Elizabeth Woodbridge, _Studies in Jonson’s Comedies_, _Yale Studies in English_, IV.

[71] _The Development of Sentimental Comedy in the Eighteenth Century, Anglia_, XXX.

[72] _The Theatre_, II, 511. By John Dennis. His temper and prejudice often destroy the value of his writings as impartial evidence, but in this case he is right.

[73] _The Man of Mode_, V, ii.

[74] _The Funeral_, I, i.

[75] Davies, _Dramatic Miscellanies_, III, 412.

[76] _Ibid._, III, 409.

[77] The substitution of one person for another in the marriage ceremony, or a false marriage, are favorite devices of Congreve. See, for instance, _The Old Bachelor_ and _Love for Love_.

[78] _The Elder Brother_ and _The Custom of the Country_.

[79] Rutilio’s sojourn with Sulpita. _The Custom of the Country_, III, iii; IV, iv.

[80] Which Vanbrugh portrayed in his play, _The Relapse_ (1697).

[81] The comic scenes from _Marriage a la Mode_ and _The Maiden Queen_.

[82] Centlivre, _Love at a Venture_; Burnaby, _The Ladies Visiting Day_, and _The Reformed Wife_.

[83] _The Ladies Visiting Day._

[84] _Love for Love_, II, xi.

[85] _To the Reader, The Provoked Husband._

[86] Cibber’s _Lives of the Poets_, IV, 120; Wilks, _A General View of the Stage_, p. 42.

[87] R. M. Alden, _Prose in the English Drama, Modern Philology_, VII, 4.

[88] _Preface_ to _Woman’s Wit_.

[89] _Dedication_ of _Love’s Last Shift_.

[90] _Dedication_ of _Love Makes a Man_.

[91] III, 100.

BULLETIN OF THE UNIVERSITY OF KANSAS
HUMANISTIC STUDIES

_Vol. I_ _January 1, 1914_ _No. 2_

STUDIES IN
BERGSON’S PHILOSOPHY

BY

ARTHUR MITCHELL, PH. D.

_Assistant Professor of Philosophy in the University of Kansas_

LAWRENCE, JANUARY, 1914
PUBLISHED BY THE UNIVERSITY

CONTENTS

PART ONE
BERGSON’S PHILOSOPHIC METHOD
_Page_
CHAPTER I
The Relation of Philosophic Method to the Definition of
Philosophy 9

CHAPTER II
Bergson’s Critique of Pure Reason 17

CHAPTER III
The Ancient Prejudice against Analysis 26

PART TWO
BERGSON’S SYSTEM OF DOCTRINE

CHAPTER I
Ontology and Epistemology 37

CHAPTER II
Mind and Matter, Spirit and Body 64

CHAPTER III
Doctrine of Freedom 82

CHAPTER IV
Bergson’s Abhorrence of Determinateness 94

CHAPTER V
The Mystical Yearning of Intuitionism 102

PART THREE
BERGSON’S GENIUS 107