Chapter XXVIII: Conclusion (1)

'ASSUREDLY,' says Mr. Watts-Dunton, in his essay on Thoreau, 'there is no profession so courageous as that of the pen.' Well, in coming to the end of my task--a task which has been a labour of love--I wish I could feel confident that I have not been too courageous--that I have satisfactorily done what I set out to do. But I have passed my four-hundred and fortieth page, and yet I seem to have let down only a child's bucket into a sea of ideas that has no limit. Out of scores upon scores of articles buried in many periodicals I have been able to give three or four from the 'Athenaeum,' none from the 'Examiner,' and none out of the 'Nineteenth Century,' 'The Fortnightly Review,' 'Harper's Magazine,' etc. Still, I have been able to show that a large proportion of Mr. Watts-Dunton's scattered writings preaches the same peculiar doctrine in a ratiocinative form which in 'Aylwin' and 'The Coming of Love' is artistically enunciated; that this doctrine is of the greatest importance at the present time, when science seems to be revealing a system of the universe so deeply opposed to the system which in the middle of the last century seemed to be revealed; and that this doctrine of Mr. Watts-Dunton's is making a very deep impression upon the generation to which I belong. If it should be said that in speaking for the younger generation I am speaking for a pigmy race (and I sometimes fear that we are pigmies when I remember the stature of our fathers), I am content to appeal to one of the older generation, who has spoken words in praise of Mr. Watts-Dunton as a poet, which would demand even my courage to echo. I mean Dr. Gordon Hake, whose volume of sonnets, entitled, 'The New Day,' was published in 1890. It was these remarkable sonnets which moved Frank Groome to dub Mr. Watts-Dunton 'homo ne quidem unius libri,' a literary celebrity who had not published a single book. I have already referred to 'The New Day,' but I have not given an adequate account of this sonnet-sequence. In their nobility of spirit, their exalted passion of friendship, their single-souled purity of loyal-hearted love, I do not think they have ever been surpassed. It is a fine proof of Mr. Watts-Dunton's genius for friendship that he should be able unconsciously to enlink himself to the souls of his seniors, his coevals and his juniors, and that there should be between him and the men of three generations, equal links of equal affection. But I must not lay stress on the whimsies of chronology and the humours of the calendar, for all Mr. Watts-Dunton's friends are young, and the youngest of them, Mr. George Meredith, is the oldest. The youthfulness of 'The New Day' makes it hard to believe that it was written by a septuagenarian. The dedication is full of the fine candour of a romantic boy:--

"To 'W. T. W.,' the friend who has gone with me through the study of
Nature, accompanied me to her loveliest places at home and in other
lands, and shared with me the reward she reserves for her ministers
and interpreters, I dedicate this book."

The following sonnet on 'Friendship' expresses a very rare mood and a very high ideal:--

Friendship is love's full beauty unalloyed
With passion that may waste in selfishness,
Fed only at the heart and never cloyed:
Such is our friendship ripened but to bless.
It draws the arrow from the bleeding wound
With cheery look that makes a winter bright;
It saves the hope from falling to the ground,
And turns the restless pillow towards the light.
To be another's in his dearest want,
At struggle with a thousand racking throes,
When all the balm that Heaven itself can grant
Is that which friendship's soothing hand bestows:
How joyful to be joined in such a love,--
We two,--may it portend the days above!

The volume consists of ninety-three sonnets of the same fine order. Many English and American critics have highly praised them, but not too highly. This venerable 'parable poet' did not belong to my generation. Nor did he belong to Mr. Watts-Dunton's generation. His day was the day before yesterday, and yet he wrote these sonnets when he was past seventy, not to glorify himself, but to glorify his friend. They are one long impassioned appeal to that friend to come forward and take his place among his peers. The indifference to fame of Theodore Watts is one of the most bewildering enigmas of literature. I have already quoted what Gordon Hake says about the man who when the 'New Day' was written had not published a single book.

With regard to the unity binding together all Mr. Watts-Dunton's writings, I can, at least, as I have shown in the Introduction, speak with the authority of a careful student of them. With the exception of the late Professor Strong, who when 'The Coming of Love' appeared, spoke out so boldly upon this subject in 'Literature,' I doubt if anyone has studied those writings more carefully than I have; and yet the difficulty of discovering the one or two quotable essays which more than the others expound and amplify their central doctrine has been so great that I am dubious as to whether, in the press of my other work, I have achieved my aim as satisfactorily as it would have been achieved by another--especially by Professor Strong, had he not died before he could write his promised essay upon the inner thought of 'Aylwinism' in the 'Cyclopaedia of English Literature.' But, even if I have failed adequately to expound the gospel of 'Aylwinism,' it is undeniable that, since the publication of 'Aylwin' (whether as a result of that publication or not), there has been an amazing growth of what may be called the transcendental cosmogony of 'Aylwinism.'

Dr. Robertson Nicoll, discussing the latest edition of 'Aylwin'--the 'Arvon' illustrated edition--says:--

"When 'Aylwin' was in type, the author, getting alarmed at its great
length, somewhat mercilessly slashed into it to shorten it, and the
more didactic parts of the book went first. Now Mr. Watts-Dunton has
restored one or two of these excised passages, notably one in which
he summarizes his well-known views of the 'great Renascence of
Wonder, which set in in Europe at the close of the eighteenth century
and the beginning of the nineteenth.' In one of these passages he
has anticipated and bettered Mr. Balfour's speculations at the recent
meeting of the British Association."

Something like the same remark was made in the 'Athenaeum' of September 3, 1904:--

"The writer has restored certain didactic passages of the story which
were eliminated before the publication of the book, owing to its
great length. Though the teaching of the book is complete without
the restorations, it seems a pity that they were ever struck out,
because they appear to have anticipated the striking remarks of Mr.
Balfour at the British Association the other day, to say nothing of
the utterances of certain scientific writers who have been discussing
the transcendental side of Nature."

The restorations to which Dr. Nicoll and 'The Athenaeum' refer are excerpts from 'The Veiled Queen,' by Aylwin's father. The first of these comes in at the conclusion of the chapter called 'The Revolving Cage of Circumstance' and runs thus:--

"'The one important fact of the twentieth century will be the growth
and development of that great Renascence of Wonder which set in in
Europe at the close of the eighteenth century and the beginning of
the nineteenth.

The warring of the two impulses governing man--the impulse of wonder
and the impulse of acceptance--will occupy all the energies of the
next century.

The old impulse of wonder which came to the human race in its infancy
has to come back--has to triumph--before the morning of the final
emancipation of man can dawn.

But the wonder will be exercised in very different fields from those
in which it was exercised in the past. The materialism, which at
this moment seems to most thinkers inseparable from the idea of
evolution, will go. Against their own intentions certain scientists
are showing that the spiritual force called life is the maker and not
the creature of organism--is a something outside the material world,
a something which uses the material world as a means of phenomenal
expression.

The materialist, with his primitive and confiding belief in the
testimony of the senses, is beginning to be left out in the cold,
when men like Sir W. R. Groves turn round on him and tell him that
"the principle of all certitude" is not and cannot be the testimony
of his own senses; that these senses, indeed, are no absolute tests
of phenomena at all; that probably man is surrounded by beings he can
neither see, feel, hear, nor smell; and that, notwithstanding the
excellence of his own eyes, ears, and nose, the universe the
materialist is mapping out so deftly is, and must be, monophysical,
lightless, colourless, soundless--a phantasmagoric show--a deceptive
series of undulations, which become colour, or sound, or what not,
according to the organism upon which they fall.'

These words were followed by a sequence of mystical sonnets about
'the Omnipotence of Love,' which showed, beyond doubt, that if my
father was not a scientific thinker, he was, at least, a very
original poet."

The second restored excerpt from 'The Veiled Queen' comes in at the end of the chapter called 'The Magic of Snowdon,' and runs thus:--

"I think, indeed, that I had passed into that sufistic ecstasy
expressed by a writer often quoted by my father, an Oriental writer,
Ferridoddin:--

With love I burn: the centre is within me;
While in a circle everywhere around me
Its Wonder lies--

that exalted mood, I mean, described in the great chapter on the
Renascence of Wonder which forms the very core and heart-thought of
the strange book so strangely destined to govern the entire drama of
my life, 'The Veiled Queen.'

The very words of the opening of that chapter came to me:

'The omnipotence of love--its power of knitting together the entire
universe--is, of course, best understood by the Oriental mind. Just
after the loss of my dear wife I wrote the following poem called "The
Bedouin Child," dealing with the strange feeling among the Bedouins
about girl children, and I translated it into Arabic. Among these
Bedouins a father in enumerating his children never counts his
daughters, because a daughter is considered a disgrace.

Ilyas the prophet, lingering 'neath the moon,
Heard from a tent a child's heart-withering wail,
Mixt with the message of the nightingale,
And, entering, found, sunk in mysterious swoon,
A little maiden dreaming there alone.
She babbled of her father sitting pale
'Neath wings of Death--'mid sights of sorrow and bale,
And pleaded for his life in piteous tone.

"Poor child, plead on," the succouring prophet saith,
While she, with eager lips, like one who tries
To kiss a dream, stretches her arms and cries
To Heaven for help--"Plead on; such pure love-breath,
Reaching the throne, might stay the wings of Death
That, in the Desert, fan thy father's eyes."

The drouth-slain camels lie on every hand;
Seven sons await the morning vultures' claws;
'Mid empty water-skins and camel maws
The father sits, the last of all the band.
He mutters, drowsing o'er the moonlit sand,
"Sleep fans my brow; sleep makes us all pashas;
Or, if the wings are Death's, why Azraeel draws
A childless father from an empty land."

"Nay," saith a Voice, "the wind of Azraeel's wings
A child's sweet breath has stilled: so God decrees:"
A camel's bell comes tinkling on the breeze,
Filling the Bedouin's brain with bubble of springs
And scent of flowers and shadow of wavering trees,
Where, from a tent, a little maiden sings.

'Between this reading of Nature, which makes her but "the superficial
film" of the immensity of God, and that which finds a mystic heart of
love and beauty beating within the bosom of Nature herself, I know no
real difference. Sufism, in some form or another, could not possibly
be confined to Asia. The Greeks, though strangers to the mystic
element of that Beauty-worship which in Asia became afterwards
Sufism, could not have exhibited a passion for concrete beauty such
as theirs without feeling that, deeper than Tartarus, stronger than
Destiny and Death, the great heart of Nature is beating to the tune
of universal love and beauty.'"

With regard to the two sonnets quoted above, a great poet has said that the method of depicting the power of love in them is sublime. 'The Slave girl's Progress to Paradise,' however, is equally powerful and equally original. The feeling in the 'Bedouin Child' and in 'The Slave Girl's Progress to Paradise' is exactly like that which inspires 'The Coming of Love.' When Percy sees Rhona's message in the sunrise he exclaims:--

But now--not all the starry Virtues seven
Seem strong as she, nor Time, nor Death, nor Night.
And morning says, 'Love hath such godlike might
That if the sun, the moon, and all the stars,
Nay, all the spheral spirits who guide their cars,
Were quelled by doom, Love's high-creative leaven
Could light new worlds.' If, then, this Lord of Fate,
When death calls in the stars, can re-create,
Is it a madman's dream that Love can show
Rhona, my Rhona, in yon ruby glow,
And build again my heaven?

The same mystical faith in the power of love is passionately affirmed in the words of 'The Spirit of the Sunrise,' addressed to the bereaved poet:--

Though Love be mocked by Death's obscene derision,
Love still is Nature's truth and Death her lie;
Yet hard it is to see the dear flesh die,
To taste the fell destroyer's crowning spite
That blasts the soul with life's most cruel sight,
Corruption's hand at work in Life's transition:
This sight was spared thee: thou shalt still retain
Her body's image pictured in thy brain;
The flowers above her weave the only shroud
Thine eye shall see: no stain of Death shall cloud
Rhona! Behold the vision!

Some may call this too mystical--some may dislike it on other accounts--but few will dream of questioning its absolute originality.

Let me now turn to those words of Mr. Balfour's to which the passages quoted from 'The Veiled Queen' have been compared. In his presidential address to the British Association, entitled, 'Reflections suggested by the New Theory of Matter,' he said:--

"We claim to found all our scientific opinions on experience: and the
experience on which we found our theories of the physical universe is
our sense of perception of that universe. That is experience; and in
this region of belief there is no other. Yet the conclusions which
thus profess to be entirely founded upon experience are to all
appearance fundamentally opposed to it; our knowledge of reality is
based upon illusion, and the very conceptions we use in describing it
to others, or in thinking of it ourselves, are abstracted from
anthropomorphic fancies, which science forbids us to believe and
nature compels us to employ.

Observe, then, that in order of logic sense perceptions supply the
premisses from which we draw all our knowledge of the physical world.
It is they which tell us there is a physical world; it is on their
authority that we learn its character. But in order of causation
they are effects due (in part) to the constitution of our orders of
sense. What we see depends, not merely on what there is to be seen,
but on our eyes. What we hear depends, not merely on what there is
to hear, but on our ears."

I may mention here a curious instance of the way in which any idea that is new is ridiculed, and of the way in which it is afterwards accepted as a simple truth. One of the reviewers of 'Aylwin' was much amused by the description of the hero's emotions when he stood in the lower room of Mrs. Gudgeon's cottage waiting to be confronted upstairs by Winifred's corpse, stretched upon a squalid mattress:--

"At the sight of the squalid house in which Winifred had lived and
died I passed into a new world of horror. Dead matter had become
conscious, and for a second or two it was not the human being before
me, but the rusty iron, the broken furniture, the great patches of
brick and dirty mortar where the plaster had fallen from the
walls,--it was these which seemed to have life--a terrible life--and
to be talking to me, telling me what I dared not listen to about the
triumph of evil over good. I knew that the woman was still speaking,
but for a time I heard no sound--my senses could receive no
impressions save from the sinister eloquence of the dead and yet
living matter around me. Not an object there that did not seem
charged with the wicked message of the heartless Fates."

'Fancy,' said the reviewer, 'any man out of Bedlam feeling as if dead matter were alive!'

Well, apart from the psychological subtlety of this passage, our critic must have been startled by the declaration lately made by a sane man of science, that there is no such thing as dead matter--and that every particle of what is called dead matter is alive and shedding an aura around it!

Had the mass of Mr. Watts-Dunton's scattered writings been collected into volumes, or had a representative selection from them been made, their unity as to central idea with his imaginative work, and also the importance of that central idea, would have been brought prominently forward, and then there would have been no danger of his contribution to the latest movement--the anti-materialistic movement--of English thought and English feeling being left unrecognized. Lost such teachings as his never could have been, for, as Minto said years ago, their colour tinges a great deal of the literature of our time. The influence of the 'Athenaeum,' not only in England, but also in America and on the Continent, was always very great--and very great of course must have been the influence of the writer who for a quarter of a century spoke in it with such emphasis. Therefore, if Mr. Watts-Dunton had himself collected or selected his essays, or if he had allowed any of his friends to collect or select them, this book of mine would not have been written, for more competent hands would have undertaken the task. But a study of work which, originally issued in fragments, now lies buried 'full fathom five' in the columns of various journals, could, I felt, be undertaken only by a cadet of letters like myself. There are many of us younger men who express views about Mr. Watts-Dunton's work which startle at times those who are unfamiliar with it. And I, coming forward for the moment as their spokesman, have long had the desire to justify the faith that is in us, and in the wide and still widening audience his imaginative work has won. But I doubt if I should have undertaken it had I realized the magnitude of the task. For it must be remembered that the articles, called 'reviews,' are for the most part as unlike reviews as they can well be. No matter what may have been the book placed at the head of the article, it was used merely as an opportunity for the writer to pour forth generalizations upon literature and life, or upon the latest scientific speculations, or upon the latest reverie of philosophy, in a stream, often a torrent, coruscating with brilliancies, and alive with interwoven colours like that of the river in the mountains of Kaf described in his birthday sonnet to Tennyson. Take, for instance, that great essay on the Psalms which I have used as the key-note of this study. The book at the head of the review was not, as might have been supposed, a discourse learned, or philosophical, or emotional, upon the Psalms--but a little unpretentious metrical version of the Psalms by Lord Lorne. Only a clear-sighted and daring editor would have printed such an article as a review. But I doubt if there ever was a more prescient journalist than he who sat in the editorial chair at that time. A man of scholarly accomplishments and literary taste, he knew that an article such as this would be a huge success; would resound through the world of letters. The article, I believe, was more talked about in literary circles than any book that had come out during that month.

Again, take that definition of humour which I seized upon (page 384) to illustrate my exposition of that wonderful character in 'Aylwin'--Mrs. Gudgeon, a definition that seems, as one writer has said, to make all other talk about humour cheap and jejune. It is in a review of an extremely futile history of humour. Now let the reader consider the difficult task before a writer in my position--the task of searching for a few among the innumerable half-remembered points of interest that turn up in the most unexpected places. Of course, if the space allotted to me by my publishers had been unlimited, and if my time had been unlimited, I should have been able to give so large a number of excerpts from the articles as to make my selection really representative of what has been called the "modern Sufism of 'Aylwin.'" But in this regard my publishers have already been as liberal and as patient as possible. After all, the best, as well as the easiest way, to show that 'Aylwin,' and 'The Coming of Love,' are but the imaginative expression of a poetic religion familiar to the readers of Mr. Watts-Dunton's criticism for twenty-five years, is to quote an illuminating passage upon the subject from one of the articles in the 'Athenaeum.' Moreover, I shall thus escape what I confess I dread--the sight of my own prose at the end of my book in juxtaposition to the prose of a past master of English style:--

"The time has not yet arrived for poetry to utilize even the results
of science; such results as are offered to her are dust and ashes.
Happily, however, nothing in science is permanent save mathematics.
As a great man of science has said, 'everything is provisional.' Dr.
Erasmus Darwin, following the science of his day, wrote a long poem
on the 'Loves of the Plants,' by no means a foolish poem, though it
gave rise to the 'Loves of the Triangles,' and though his grandson
afterwards discovered that the plants do not love each other at all,
but, on the contrary, hate each other furiously--'struggle for life'
with each other, 'survive' against each other--just as though they
were good men and 'Christians.' But if a poet were to set about
writing a poem on the 'Hates of the Plants,' nothing is more likely
than that, before he could finish it, Mr. Darwin will have discovered
that the plants do love after all; just as--after it was a settled
thing that the red tooth and claw did all the business of
progression--he delighted us by discovering that there was another
factor which had done half the work--the enormous and very proper
admiration which the females have had for the males from the very
earliest forms upwards. In such a case, the 'Hates of the Plants'
would have become 'inadequate.' Already, indeed, there are faint
signs of the physicists beginning to find out that neither we nor the
plants hate each other quite so much as they thought, and that Nature
is not quite so bad as she seems. 'She is an AEolian harp,' says
Novalis, 'a musical instrument whose tones are the re-echo of higher
strings within us.' And after all there are higher strings within us
just as real as those which have caused us to 'survive,' and poetry
is right in ignoring 'interpretations,' and giving us 'Earthly
Paradises' instead. She must wait, it seems; or rather, if this
aspiring 'century' will keep thrusting these unlovely results of
science before her eyes, she must treat them as the beautiful girl
Kisagotami treated the ugly pile of charcoal. A certain rich man
woke up one morning and found that all his enormous wealth was turned
to a huge heap of charcoal. A friend who called upon him in his
misery, suspecting how the case really stood, gave him certain
advice, which he thus acted upon. 'The Thuthe, following his
friend's instructions, spread some mats in the bazaar, and, piling
them upon a large heap of his property which was turned into
charcoal, pretended to be selling it. Some people, seeing it, said,
"Why does he sell charcoal?" Just at this time a young girl, named
Kisagotami, who was worthy to be owner of the property, and who,
having lost both her parents, was in a wretched condition, happened
to come to the bazaar on some business. When she saw the heap, she
said, "My lord Thuthe, all the people sell clothes, tobacco, oil,
honey, and treacle; how is it that you pile up gold and silver for
sale?" The Thuthe said, "Madam, give me that gold and silver."
Kisagotami, taking up a handful of it, brought it to him. What the
young girl had in her hand no sooner touched the Thuthe's hand than
it became gold and silver.'"

I cannot find a clearer note for the close of this book than that which sounds in one of the latest and one of the finest of Mr. Watts-Dunton's sonnets. It was composed on the last night of the Nineteenth Century, a century which will be associated with many of the dear friends Mr. Watts-Dunton has lost, and, as I must think, associated also with himself. The lines have a very special charm for me, because they show the turn which the poet's noble optimism has taken; they show that faith in my own generation which for so many years has illumined his work, and which has endeared him to us all. I wish I could be as hopeful as this nineteenth century poet with regard to the poets who will carry the torch of imagination and romance through the twentieth century; but whether or not there are any poets among us who are destined to bring in the Golden Fleece, it is good to see 'the Poet of the Sunrise' setting the trumpet of optimism to his lips, and heralding so cheerily the coming of the new argonauts:--

THE ARGONAUTS OF THE NEW AGE

THE POET

[In starlight, listening to the chimes in the
distance, which sound clear through the
leafless trees.

Say, will new heroes win the 'Fleece,' ye spheres
Who--whether around some King of Suns ye roll
Or move right onward to some destined goal
In Night's vast heart--know what Great Morning nears?

THE STARS

Since Love's Star rose have nineteen hundred years
Written such runes on Time's remorseless scroll,
Impeaching Earth's proud birth, the human soul,
That we, the bright-browed stars, grow dim with tears.

Did those dear poets you loved win Light's release?
What 'ship of Hope' shall sail to such a world?

[The night passes, and morning breaks
gorgeously over the tree top.

THE POET

Ye fade, ye stars, ye fade with night's decease!
Above yon ruby rim of clouds empearled--
There, through the rosy flags of morn unfurled--
I see young heroes bring Light's 'Golden Fleece.'

* * * * *

THE END

Index

Abbey, Edwin, 122, 301

Abershaw, Jerry, 100

Abiogenesis, 373

Absolute humour: see Humour, absolute and relative

Accent, English verse governed by, 344

Acceptance, instinct of, 14; Horace as poet of, 15

Acton, Lord, place given 'Aylwin' by, 5

Actors, two types of, 127

Actresses, English prejudice against, 131

Adams, Davenport, 132

Addison, 'softness of touch' in portraiture, 350

'Adonais,' 157

'AEneid,' 208

AEschylus, reference to, 15, 45, 324

'Agamemnon,' 323

Alabama, Lowell and, 295

Aldworth, 286, 293

Allen, Grant, 207, 269, 309, 361

Allingham, William, 213

Ambition v. Nature-Worship, 103

America, Watts-Dunton's friends in, 295; his feelings towards, 297, 301

Anacharsis, 384

Anapaests, Swinburne and, 383

Anglomania and Anglophobia, Lowell's, 299

Anglo-Saxon, law-abidingness of, 309; conception of life, 381

Animals, man's sympathy with 38-9, 82-86

'Anne Boleyn,' Watts-Dunton's criticism of Lilian Adelaide Neilson's acting in, 117

Anonymity in criticism, 209

Anthropology, 14

Apemantus, 250

Appleton, Prof., Watts-Dunton's reminiscences of:--met at Bell Scott's and Rossetti's; Hegel on the brain; asks Watts to write for 'Academy,' 187; wants him to pith the German transcendentalists in two columns, 188; in a rage; Watts explains why he has gone into enemy's camp, 201; a Philistine, 202

'Arda Viraf,' 219

'Argonauts of the New Age,' 457

Argyll, Duchess of: see Louise, Princess

Argyll, Duke of, 291: see Lorne, Marquis of

Aristocrats, in 'Aylwin,' 351

Aristotle, unities of, 18; 177; 340, 341

Armada, 423

'Armadale,' 348

Arnold, Sir Edwin, 219, 228

Arnold, Matthew, 'The Scholar Gypsy,' Borrow's criticism of, 108; Rhona Boswell and, 114; 157

Artifice, 239

Athenaeum, 1-4; editor of, 10; seventieth birthday of, 210-213; influence of, 452; Watts-Dunton's connection with, 6, 173, 188, 212-27, 315, 418, 454

Augustanism, 15, 16; pyramid of, 23

Austen, Jane, 367

'Australia's Mother,' 4

'Ave Atque Vale,' 157

Avon, River, Watts-Dunton's love for, 31

'AYLWIN,' Renascence of Wonder exemplified in, 2; popularity of, 7; principles of romantic art expressed in, 8; Justin McCarthy's opinion of, 9; 'Renascence of Wonder,' original title of, 11; attempted identification of characters in, 50, 88; 'Veiled Queen,' dominating influence of author, 56; Cyril Aylwin, identification with A. E. Watts, 87; genesis of, 89; nervous phases in, 90; D'Arcy, identification with Rossetti, 139, 140-45; description of Rossetti in, 165-169; landslip in, 270; Welsh acceptation of, 312-318; Snowdon ascent, 317; 'Encyc. Brit.' on, 321; naivete in style of, 328; youthfulness of, 328; richness in style, 330-38; Galimberti, Mme., criticism of, 338; 'Athenaeum' canons observed in, 338, 343; begun in metre, 342; critical analysis of, 345-362; 'softness of touch' in portraiture, 351; love-passion, 362; Swinburne on, 363; Meredith on, 364; Groome on, 367; novel of the two Bohemias, 368; editions of, 368, 377; enigmatic nature of, 373; Dr. Nicoll on, 375; Celtic element in, 378; Jacottet on, 380; two heroines of, 363; spirituality of, 372, 375, 378, 380; inner meaning of, 372-81; heart-thought of contained in the 'Veiled Queen,' 374; 'Saturday Review' on, 377; motive of, 389, 'Arvon' edition, restoration of excised passages, 445-50; modern Sufism of, 454; quotations from, 330, 331, 333, 336

Aylwin, Cyril, 168

Aylwin, Henry, at 16 Cheyne Walk, 165; autobiographical element in, 322, 356; see 'Aylwin'; his mother, 352

Aylwin, Philip: see Watts, J. O.

Aylwin, Percy, contrasted with Henry Aylwin, 361; the part he plays in the 'Coming of Love,' 401-11; autobiographical element in--see description of Swinburne swimming, 268

Aylwinism, Mr. Balfour and, 373, 446, 450; growth of, 445

* * * * *

Bacon, 43

Badakhshan, ruby hills of, 329

Balfour, A. J., Aylwinism and, 373, 446, 450

Ballads, old, wonder in, 16

'Ballads and Sonnets,' Rossetti's, 271

Balliol, Jowett's dinner parties at, 280

Balzac, 18

Banville, his 'Le Baiser,' 133

Basevi, 95

Bateson, Mary, her paper on Crab House Nunnery, 53

Baudelaire, 135

Baynes, invites Watts to write for 'Encyc. Brit.,' 256-7

Beddoes, 126

'Bedouin Child, The,' 448

'Belfast News-Letter,' 4

'Belle Dame Sans Merci, La,' wonder and mystery of, 19

Bell, Mackenzie: on Watts-Dunton's study of music: see 'Poets and Poetry of the Century,' 38: also 'Shadow on the Window Blind'

'Bells, The,' Watts on, 119

Benson, A. C, his monograph on Rossetti, 138-40

Berners, Isopel, 364, 369

Beryl-Songs, in 'Rose Mary,' 139-40

Betts Bey, 85

Bible, The, Watts-Dunton's essay on, 228-41

Bible Rhythm, 238

Biogenesis, 373

Bird, Dr., 306

Birdwood, Sir George, 409

Bisset, animal trainer, 38

Black, William, 119; Watts-Dunton's friendship with, 185; their resemblance to each other, 185; an amusing mistake, 186

Blackstone, 23, 309

Blank verse, 239

Boar's Hill, 282

Bodleian, 282

Body, its functions--humour of, 387

Bognor, 91

Bohemians, in 'Aylwin,' 351

Bohemias, Novel of the Two, 'Aylwin' as, 368

Borrow, George, 10; method of learning languages, 58; Watts-Dunton's description of, 95-106, 108-16; characteristics of, 99-106, 368; his gypsy women scenic characters, 390; Watts-Dunton's reminiscences of:--his first meeting with, 95; his shyness, 99; Watts attacks it; tries Bamfylde Moore Carew; then tries beer, the British bruiser, philology, Ambrose Gwinett, etc., 100; a stroll in Richmond Park; visit to 'Bald-Faced Stag'; Jerry Abershaw's sword; his gigantic green umbrella, 101-2; tries Whittlesea Mere; Borrow's surprise; vipers of Norman Cross; Romanies and vipers, 104; disclaims taint of printers' ink; 'Who are you?' 105; an East Midlander; the Shales Mare, 106; Cromer sea best for swimming; rainbow reflected in Ouse and Norfolk sand, 106; goes to a gypsy camp; talks about Matthew Arnold's 'Scholar-Gypsy,' 108; resolves to try it on gypsy woman; watches hawk and magpie, 109; meets Perpinia Boswell; 'the popalated gypsy of Codling Gap,' 110; Rhona Boswell, girl of the dragon flies; the sick chavo; forbids Pep to smoke, 112; description of Rhona, 113; the Devil's Needles; reads Glanville's story; Rhona bored by Arnold, 114; hatred of tobacco, 115; last sight of Borrow on Waterloo Bridge, 115; sonnet on, 116

Boswell, Perpinia, 110-12

BOSWELL, RHONA, her 'Haymaking Song,' 33-5; her prototype, first meeting with, 63; description from 'Aylwin,' 64; East Anglia and 'Cowslip Land' linked by, 72, 108; description of in unpublished romance, 110-15; her beauty, 113; courageous nature of, 366, 406; presented dramatically, 356; type of English heroine, 366; Tennyson's 'Maud' compared with, 413; George Meredith on, 418; humour of, 421; 'Rhona's Letter,' 402-5; rhyme-pattern of same, 419

Boswell, Sylvester, 110

Bounty, mutineers of, 310

Boxhill, Meredith's house at, 283

Bracegirdle, Mrs., 131

'Breath of Avon: To English-speaking Pilgrims on Shakespeare's Birthday,' 31

British Association, 373, 445, 450

Bronte, Charlotte and Emily, Nature instinct of, 97; novels of, 346, 367

Brown, Charles Brockden, 308

Brown, Lucy Madox: see Rossetti, Mrs. W. M.

Brown, Madox, 10, 12, 35, 170; his Eisteddfod, 136; portrait of, story connected with, 274

Brown, Oliver Madox, 274-6

Browne, Sir Thomas, 337

Browning, Robert, 4; compared with Victor Hugo, 126; 144; Watts-Dunton's reminiscences of:--chaffs him in 'Athenaeum'; chided by Swinburne, 222, sees him at Royal Academy private view; Lowell advises him to slip away; bets he will be more cordial than ever; Lowell astonished at his magnanimity, 222-23; the review in question, 'Ferishtah's Fancies,' 223-26

Brynhild, 365

'Brynhild on Sigurd's Funeral Pyre,' 366

Buchanan, Robert, his attacks on Rossetti, 145-6; Watts-Dunton's impeachment of, 148

'Buddhaghosha,' Parables of, 218

Buddhism, 14

Bull, John, 224, 299, 300

Burbage, 124

Burgin, G. B., his interview with Watts-Dunton, 205

Burns, Robert, 38

Butler, Bishop, share in Renascence of Wonder, 22

'B.V.,' 161

'Byles the Butcher,' 215-16

Byron, 307

'By the North Sea,' 271

* * * * *

Caine, Hall, Rossetti 'Recollections' by, 150, 151-4

Calderon, 219

Cam, Ouse and, 79

'Cambridge Chronicle,' 51

Cambridge University, 1; George Dyer, Frend, Hammond and, 40; Prince of Wales at, 67

Campbell, Lady Archibald, open-air plays organized by, 132

Capri girl, Rhona Boswell like, 110

Carew, Bamfylde Moore, 99

Carlyle, Thomas, River Ouse, libellous description of, 27, 28; his heresy of 'work,' 68-71; 'Frederick the Great,' Watts-Dunton on, 192

Carr, Comyns, contributor to 'Examiner,' 184

Casket Lighthouse, girl in--poems by Swinburne and Watts-Dunton, 413

Cathay, pyramid of, 25

'Catriona,' 217

'Caught in the Ebbing Tide,' 82

Cavendish, Ada, 118

'Celebrities of the Century,' memoir of Watts-Dunton in, 4

Celtic temper, 'Aylwin,' 313-15; 378; 398

Cervantes, Watts-Dunton on, 197, 246-52; 382

Chalk Farm, Westland Marston's theatrical reunions at, 117; Parnassians at, 135

'Chambers's Cyclopaedia of English Literature,' Watts-Dunton's 'Renascence of Wonder' article, 13, 20, 25; 173; Douglas, James, article on Watts-Dunton by, 393

'Chambers's Encyclopaedia,' article on Watts-Dunton in, 1; Watts-Dunton's contributions to, 2; Sonnet, Watts-Dunton's essay on, 205

Chamisso, 119

Channel Islands, visit of Swinburne and Watts-Dunton to, 268-9

Chapman, George, 267

Chaucer, his place in English poetry, 15, 43, 294, 394

Chelsea, Rossetti's residence at, 137, 155, 161, 162, 165

Cheyne Walk, 16: see Chelsea

'Children of the Open Air,' 96, 97, 98, 116

Children, Rossetti on, 168

Chinese Cabinet, Rossetti's, 267

'Christabel,' wonder and mystery of, 19; quotation from, 20

Christmas, 'The Pines' and, 93, 94; Rosicrucian, 94

"Christmas Tree at 'The Pines,' The," 94

"Christmas at the 'Mermaid,'" 32; metrical construction of, 422; Watts-Dunton's preface to sixth edition, 424; written at Stratford-on-Avon, 423; opening chorus, 423; description of Shakespeare's return to Stratford-on-Avon, 425-26; quotations from, 423-40; chief leit-motiv of, 436; Wassail Chorus, 438; 'The Golden Skeleton,' 428-34, 436-37; Raleigh and the Armada, 434-36; letter from Thomas Hardy about, 440-41

Circumstance, as villain, 125, 349; as humourist, 248; as harlequin, 387

Civilization, definition of, 71

Climate, English, Lowell on, 300

Clive, Kitty, 131

Cockerell, Sydney C., 179

Coincidence, long arm of, 348

Cole, Herbert, 440

Coleridge, S. T., 19, 20, 38; Watts-Dunton's poetry, kinship to, 417, 419; 324, 338; on accent in verse, 344

Coleridge, Watts-Dunton's Sonnet to, 417; Meredith's opinion of same, 417

Collaboration, 415

Collier, Jeremy, 259

Collier, John P., 55

Collins, Wilkie, fiction of, 348, 367

Colonies, Watts-Dunton on, 273

Colvin, Sidney, 216

Comedie Francaise: see Theatre Francaise

Comedy: and Farce, distinction between, 258; of repartee, 259

'COMING OF LOVE, THE': Renascence of Wonder exemplified in, 2; popularity of, 7; principles of Romantic Art explained in, 8; humour in, 24; locality of Gypsy Song, 33; publication of, 178, 389; history of, 395; inner meaning of, 400; form of, 411; opening sonnets, incident connected with, 413; quotations from, 402-11, 450; references to, 5, 361, 376

Common Prayer, Book of, 231

Congreve, his wit and humour, 258-60

Convincement, artistic, 325

Coombe, open-air plays at, 132

Cooper, Fenimore, 306

Corkran, Miss, 118, 278

Corneille, 132

Cosmic humour, 204

Cosmogony, New, 9; see Renascence of Wonder, 373

Cosmos, joke of, 386

Cowper, W., 38

Cowslip Country, Watts-Dunton's association with, 27, 32

Craigie, Mrs., intellectual energy of the provinces asserted by, 50; 325

Criticism, anonymity in, 209, 210; new ideas in, 344

Cromer, 106; Swinburne and Watts-Dunton visit, 270

Cromwell, Oliver, Slepe Hall, supposed residence at, 35; his elder wine, 36-7

Cruikshank, 387

'Cyclopaedia of English Literature': see 'Chambers's Cyclopaedia'

* * * * *

'Daddy this and Daddy that, It's,' 181

Dana, 371

Dante, 208, 293, 412, 418

D'Arcy (see Rossetti, D. G.), character in 'Aylwin' originally 'Gordon' (Gordon Hake), 91; Rossetti as prototype of, 91-2, 139, 140-45, 165, 336

Darwin, Charles, 52, 97, 373, 455

Darwin, Erasmus, 455

Death, Pain and, 173

'Debats, Journal des,' 27, 374, 400

De Castro, 141-43, 166: see Howell, C. A.

Decorative renascence, 16

Deerfoot, the Indian, race won at Cambridge by, 65

'Defence of Guinevere,' 177

Defoe, 307, 367

De Lisle, Leconte, 124

'Demon Lover, The,' wonder and mystery expressed by, 19

Denouement in fiction, dialogue and, 346

De Quincey, 175, 197, 220, 340

Dereham, Borrow as, 95

Destiny, in drama, 125

Devil's Needles, 113

Dialect in poetry--Meredith on Rhona Boswell's letters, 418

Dialogue in fiction, 346

Dichtung, Wahrheit and, in 'Aylwin,' 50

Dickens, Lowell's strictures on, 295; 325; hardness of touch in portraiture, 350; 367, 384, 387

'Dickens returns on Christmas Day,' 93

Dionysius of Halicarnassus, on the sibilant in poetry, 287; substance and form in poetry, 341

Disraeli, 'softness of touch' in St. Aldegonde, 351; 353

'Divina Commedia,' 208

'Dr. Jekyll and Mr. Hyde,' Watts-Dunton's criticism of, 218

Dogs, telepathy and, 82-6

Doppelganger idea, 30

Drama, surprise in, 120; famous actors and actresses, 117; table talk about 'The Bells' and 'Rip Van Winkle,' 119: see Actors, Actresses, AEschylus, Banville, Burbage, Comedy and Farce, Congreve, Etheredge, Ford, Garrick, Got, Hamlet, Hugo, Kean, Marlowe, Robson, Shakspeare, Sophocles, Cyril Tourneur, Vanbrugh, Webster, Wells, Wycherley

Dramatic method in fiction, 346

Drayton, 438

Drury Lane, ragged girl in, 93

Dryden, the first great poet of 'acceptance,' 25

Du Chaillu, 52

Duffield, contributor to 'Examiner,' 184

Dukkeripen, The Lovers', 73

Dumas, 346

Du Maurier, 301

Dunn, Treffry, De Castro's conduct to, 143; Watts-Dunton's portrait painted by, 171; drawings by, 161, 277

Dunton, family of, 53

Dyer, George, St. Ives and, 40, 41

* * * * *

'Earthly Paradise, The,' 177

East Anglia, gypsies of, 63; Omar Khayyam and, 79; 72-85; Watts-Dunton's poem on, 82-5; road-girls in, 390

Eastbourne, Swinburne and Watts visit, 270

East Enders, in 'Aylwin,' 351

Eliot, George, 372

Ellis, F. S., 179

Emerson, 8

'Encyclopaedia Britannica,' Watts-Dunton's connection with, 1, 2, 4, 6, 205, 256; his Essay on Poetry, 340, 393; on Vanbrugh, 258

'Encyclopaedia, Chambers's': see 'Chambers's Encyc.'

England, its beloved dingles, 69-70; Borrow and, 102; love of the wind and, 370

'English Illustrated Magazine,' 287

Epic method in fiction, 346

Erckmann-Chatrian, 'Juif Polonais' by, 119

Erskine, his pet leeches, 39

'Esmond,' 328

Etheredge, 259

'Examiner,' contributors to, 184; Watts-Dunton's articles in, 184

* * * * *

'Fairy Glen,' 315

'Faith and Love,' Wilderspin's picture, 331

Falstaff, 382

Farce, comedy and, distinction between, 258

Farringford, 286

'Father Christmas in Famine Street,' 92

Febvre, as Saltabadil, 129

Fens, the, description of, 62

Feridun, 225

'Ferishtah's Fancies,' Watts's review of, 223

Ferridoddin, 447

Fiction, genius at work in, 7; importance of, 208; beauty in, 221; atmosphere in, 308; 'artistic convincement' in, 325; methods of, 345 et seq.; epic and dramatic methods in, 346; 'softness of touch' in, 349 et seq.

Fielding, 305, 321, 347; 'softness of touch' in, 350, 367

Findlay, 52

FitzGerald, Edward, 79; Watts-Dunton's Omarian poems, 80-1

Fitzroy Square, Madox Brown's symposia at, 136-7

Flaubert, 89

'Fleshly School of Poetry,' 145-46

'Florilegium Latinum,' 147

Fonblanque, Albany, 185

Ford, spirit of wonder in, 16

'Fortnightly Review,' 442

Foxglove bells, fairies and, 74

France, Anatole, irony of, 204

France, dread of the wind, 370

Fraser, the brothers, water-colour drawings by, 33

Freedom, modern, 71

French Revolution, its relation to the Renascence of Wonder, 13

Frend, William, revolt against English Church, 40

Friendship, passion of, 146-48; sonnet (Dr. Gordon Hake), 444

* * * * *

Gainsborough, 'softness of touch' in portraits by, 350

Galimberti, Alice, her appreciation of Watts-Dunton's work, 204, 338, 339, 347

Gamp, Mrs., 384

'Garden of Sleep,' 270

Garnett, Dr., his views on 'Renascence of Wonder,' 11; contributions to 'Examiner,' 184

Garrick, David, 127

Gaskell, Mrs., softness of touch, 350

Gautier, Theophile, 135, 136

Gawtry, in 'Night and Morning,' 349

Gelert, 82-5

Genius, wear and tear of, 175

Gentility, 25, 109

'Gentle Art of Making Enemies,' 353

German music, fascination of, 89

German romanticists, the terrible-grotesque in, 126

Gestaltung, Goethe on, 398

Ghost, laughter of, 387

Gladstone, 175

Glamour, Celtic, 313-15; 378

'Glittering Plain,' 173

Glyn, Miss, 118, 136

God as beneficent Showman, 387

Goethe, his critical system, Watts-Dunton's treatise on Poetry compared to, 257; his theory as to enigmatic nature of great works of art, 373, 394; Gestaltung in art, 398

'Golden Hand, The,' 73

'Gordon,' Dr. G. Hake as, 91, 95

Gordon, Lady Mary, Swinburne and Watts-Dunton's visits to, 270

Gorgios and Romanies, 389

Gosse, Edmund, contributes to 'Examiner,' 184; his study of Etheredge, 259

Got, M., Watts on his acting in 'Le Roi s'Amuse,' 127

Grande dame, Aylwin's mother as type of, 352

Grant, James, 367

'Graphic,' 100

'Grave by the Sea, A,' 157

'Great Thoughts,' 61

Grecian Saloon, Robson at, 57

Greek mind, the, 44

Green Dining Room at 16 Cheyne Walk, 161

Groome, F. H., account of J. K. Watts by, 50; intimacy with Watts-Dunton, 68; Watts-Dunton and the gypsies, 72; Watts-Dunton's obituary notice of, 79; on gypsies in 'Aylwin,' 351; 'Kriegspiel,' 364; his review of 'Aylwin,' 367, 372; gypsy humour--anecdote, 420

Grotesque, the terrible-, in art, 126

Gryengroes: see Gypsies

'GUDGEON, MRS.,' humour of, 382-84, 388; prototype of, 383

'Guide to Fiction,' Baker's, 374

Gwinett, Ambrose, 99

Gwynn, David, 423

'Gypsy Folk-tales,' 420

'Gypsy Heather,' 75

Gypsies, Watts-Dunton's acquaintance with, 61, 67; superstitions of, 101; 'prepotency of transmission' in, 362; in 'Aylwin,' Groome on, 367; 'Aylwin,' gypsy characters of, 368; 'Times' on, 370; superiority of gypsy women to men, 392; characteristics of same, 390; music, 392; humour of, 420

* * * * *

Hacker, Arthur, A.R.A., illustration of 'John the Pilgrim' by, 415

Haggard, Rider, telepathy and dumb animals, 82; Watts-Dunton's influence on writings of, 415

Haggis, the stabbing of, 193

Hake, Gordon, 12; 'Aylwin,' connection with, 90; physician to Rossetti, 90-91; his view of Rossetti's melancholia and remorse--cock and bull stories about ill-treatment of his wife, 91; physician to Lady Ripon, 90; Borrow and Watts-Dunton introduced by, 95; poems connected with Watts-Dunton, 92; 'The New Day' (see that title)

Hake, Thomas St. E., author's gratitude for assistance from, 10; 11, 12; 'Notes and Queries,' papers on 'Aylwin' by, 50; J. O. Watts identified with Philip Aylwin by, 51, 56; account of J. O. Watts by, 57; A. E. Watts, description by, 88; 'Aylwin,' genesis of, account by, 89; account of his father's relations with Rossetti, 90-91; Hurstcote and Cheyne Walk, 'green dining room,' identified by, 161; William Morris, facts concerning, given by, 171

Hallam, Henry, 281

'Hamlet,' 293

Hammond, John, 40-1

'Hand and Soul,' 172

Hardy, Thomas, 27, 186, 325; letter from, 440-41

'Harper's Magazine,' 122, 442

Harte, Bret, 301; Watts-Dunton's estimate of, 302-11; histrionic gifts, 302; meeting with; drive round London music-halls, 303; 'Holborn,' 'Oxford'; Evans's supper-rooms; Paddy Green; meets him again at breakfast; a fine actor lost, 303

Hartley, on sexual shame, 255

Hawk and magpie, Borrow and, 109

Hawthorne, Nathaniel, 305

'Haymaking Song,' 34

Hazlitt, W., 261

Hegel, 187

Heine, 232

Heminge and Condell, 293

Hemingford Grey, 33

Hemingford Meadow, description, 32, 33

Henley, W. E., 284, 322

Herder, 19

Herkomer, Prof. H., 100

Herne, the 'Scollard,' 402, 405

Herodotus, 340

Hero, English type of, 365

'Hero, New,' The, 287

Heroines, 'Aylwin,' a story with two, 363

Hesiod, 221, 394

Heywood, 439

Higginson, Col., 301

Hodgson, Earl, 30

Homer, 177, 208, 323, 355

Hood, Thomas, 1

Hopkins, John, 233

Horne, R. H., 137; challenge to Swinburne and Watts-Dunton, 269

Hotei, Japanese god of contentment, 385

'House of the Wolfings,' 173

Houssaye, Arsene, 218

Houghton, Lord, 183

Howell, Charles Augustus, prototype of De Castro, q.v.

Hueffer, Dr. F., Wagner exponent, 89; Watts-Dunton's intimacy with, 89

Hueffer, Ford Madox, testimony to the friendship of Watts-Dunton and Rossetti, 154

Hugo, Victor, 'Le Roi s'Amuse,' 123-30; Watts-Dunton's sonnet to, 129; dread of the wind, 370

Humboldt, 45

Humour, Watts-Dunton's definition of, 196; absolute and relative, 16, 23, 384; cosmic, 204; renascence of wonder in, 242; metaphysical meaning of, 246-55

Hunt, Holman, 19

Hunt, Leigh, 261

Hunt, Rev. J., 49

* * * * *

'Idler,' interview with Watts-Dunton in, 205

'Illuminated Magazine,' 55

Imagination, lyrical and dramatic, in 'Aylwin,' 356-61

Imaginative power in 'Aylwin,' 345

Imaginative representation, 208, 398

Imperialism, 273

Incongruity, basis of humour, 385

Indecency, definition of, 255

Ingelow, Jean, 369

Interviewing, skit on, 263

Ireland, hero-worship in, 3

Irony, Anatole France's, 204; in human intercourse, 251

Irving, Sir Henry, 118, 137

Isis, 332

Isle of Wight, Swinburne and Watts-Dunton visit, 270

* * * * *

Jacottet, Henri, 347, 374, 380

Jami, 21

'Jane Eyre,' 342, 345

Japanese, race development of, 14

Jaques, 250

'Jason,' 177

Jefferson, Joseph, 121

Jeffrey, Francis, 2

Jenyns, Soame, 387

Jerrold, Douglas, 1, 53, 289

Jessopp, Dr., 'Ups and Downs of an Old Nunnery,' reference to Dunton family in, 53

Jewish-Arabian Renascence: see Renascence

'John the Pilgrim,' 416

Johnson, Dr., 326

Jolly-doggism, 199

Jones, Sir Edward Burne, 180

Jonson, Ben, 423

'Joseph and His Brethren,' 55

Joubert, 221

'Journal des Debats,' 27, 374

Journalism, mendacious, 263

Jowett, Benjamin, Watts-Dunton's friendship with, 279; pen portrait of, 280; see 'Last Walk from Boar's Hill,' 282

'Jubilee Greeting at Spithead to the Men of Greater Britain,' 31

'Juif-Polonais,' 119

* * * * *

Kaf, mountains of, 286, 453

Kean, Edmund, 121, 127

Keats, John, spirit of wonder in poetry of, 19, 293; richness of style, 329

Kelmscott Manor, Rossetti's residence at, 155, 161, 162, 164, 165; identification of Hurstcote with, 170; causeries at, 173

Kelmscott Press, 178, 181

Kernahan, Coulson, 56, 413

Kew, Lord, Thackeray's, 351

Keynes, T., 267

Khayyam, Omar, 'Toast to,' 79, 81; Sonnet on, 81; 'The Pines,' Groome and, 79

'Kidnapped,' Watts-Dunton's review of, 215; letter from Stevenson concerning same, 216

'King Lear,' 126, 323, 355

Kisagotami, 456

'Kissing the May Buds,' 406

Knight, Joseph, acquaintance with J. O. Watts, 60; as dramatic critic, 122, 123

Knowles, James, 290: see also 'Nineteenth Century'

'Kriegspiel,' 364

'Kubla Khan,' wonder and mystery of, 19, 20

Kymric note, in 'Aylwin,' 313-15

* * * * *

Lamb, Charles, 41, 59, 250, 387

Lancing, Swinburne and Watts visit, 270

Landor, 271, 352

Landslips at Cromer, 270

Lane, John, wishes to compile bibliography of Watts-Dunton's articles, 6; publication of 'Coming of Love,' 396; 440

Lang, Andrew, critical work of, 207; 415

Language, inadequacy of, 323

'Language of Nature's Fragrancy,' 269

Laocoon, 323

'Last Walk from Boar's Hill, The,' 282

Latham, Dr. R. G., acquaintance with J. O. Watts, 58

'Lavengro,' 368

'Lear, King,' 126, 323, 355

Le Gallienne, R., 1

Leighton, Lord, 172

Leslie, G. D., 301

Leutzner, Dr. Karl, 205

Lever, 367

Lewis, Leopold, 119

Ligier, as Triboulet in 'Le Roi s'Amuse,' 124

Lineham, 95

Litany, 231

'Literature,' 132, 244, 245

'Literature of power,' 208

'Liverpool Mercury,' article on 'Aylwin,' 12

Livingstone, J. K. Watts's friendship with, 52

Llyn Coblynau, 317

London, Watts-Dunton's life in, 87 et seq.; its low-class women, humourous pictures of, 383

Lorne, Marquis of, 453: see Argyll, Duke of

'Lothair,' 353

Louise, Princess (Duchess of Argyll), Rossetti's alleged rudeness to, 156

'Love brings Warning of Natura Maligna,' 414

'Love for Love,' 258, 260

'Love is Enough,' 177

Love-passion in 'Aylwin,' 362

'Lovers of Gudrun,' written in twelve hours, 176

'Loves of the Plants,' 455

'Loves of the Triangles,' 455

Lovell, Sinfi, Nature instinct of, 97; 'Amazonian Sinfi,' 107; true representation of gypsy girl, 317; Meredith's praise of, 363; Groome on, 364; Richard Whiteing on, 364; dominating character of, 363, 365; prototype of, 368-9; beauty of, 391

Low, Sidney, 244

Lowell, James Russell, 222; Watts-Dunton's critical work, appreciation of, 399; sonnet on the death of, 300; Watts-Dunton's reminiscences of:--meets him at dinner, 295; he attacks England; directs diatribe at Watts; he retorts; a verbal duel, 296; recognition; cites Watts's first article, 298; his anglophobia turns into anglomania, 299; likes English climate, 300

Lowestoft, 106

Luther, his pigs, 39

'Lycidas,' 3, 157

Lyell (geologist), 45; J. K. Watts's acquaintance with, 50, 52

Lytton, Bulwer, novels of, 349

* * * * *

McCarthy, Justin, 'Aylwin,' criticism of, 9; hospitality of, 186

MacColl, Norman, invites Watts-Dunton to write for 'Athenaeum,' 188; 243, 418

Macready, 136

Macrocosm, microcosm and, 26, 27, 35

'Madame Bovary,' 89

Madonna, by Parmigiano, 172

'Magazine of Art,' 290

Magpie, hawk and, 109

Maguelonne, Jeanne Samary as, 129

Man, final emancipation of, 47: see also Renascence of Wonder, 'Aylwinism.'

'Man and Wife,' 348

Manchester School, 273

'Mankind, the Great Man,' 46

Manns, August, Crystal Palace Concerts conducted by, 89

Manu, 219

'M.A.P.,' 278

Mapes, Walter, 388

Marcianus, 104

Marlowe, Christopher, spirit of wonder in poetry of, 16; 329; friend of, 426

Marot, Clement, 229

Marryat, 367

Marshall, John, medical adviser to Rossetti, 152

Marston, Dr. Westland:--symposia at Chalk Farm; famous actors and actresses, 117; table talk about 'The Bells' and 'Rip Van Winkle,' 119; on staff of 'Examiner,' 184; the sub-Swinburnians at the Marston Mornings; the divine Theophile; the Gallic Parnassus, 136

Marston, Philip Bourke, Louise Chandler Moulton's memoir of, 4, 10, 157; Oliver Madox Brown's friendship with, 276

Martin, Sir Theodore, 156

Matter, dead, 411, 452; new theory of, 451

Meredith, George, 6; Watts-Dunton's friendship with, 283, 284; literary style of, 325, 328; Watts-Dunton's Sonnet on Coleridge, opinion of, 417; 'Coming of Love,' opinion of, 418

'Meredith, 'To George, Sonnet, 284

Meredithians, mock, 325

'Merry Wives of Windsor,' 293

Methuen, A. M. S., 216

Metrical art, new, 343, 344, 412

Microcosm, of St. Ives, 26-7; 35; characters in the, 50-60

Middleton, Dr. J. H., his friendship with Morris, 172; 'Encyclopaedia Britannica,' collaboration in, 173

Mill, John Stuart, education of, Watts-Dunton's early education compared with, 50

Miller, Joaquin, 301

Milton, John, 3; period of wonder in poetry ended with, 25; 157; 293

Minto, Prof., 10; Watts-Dunton's connection with 'Examiner' and, 184-88, 256; Watts-Dunton's reminiscences of:--neighbours in Danes Inn; editing 'Examiner'; secures Watts; first article appears; Bell Scott's party; Scott wants to know name of new writer, 184; Watts slates himself, 185; Minto's Monday evening symposia, 185

Moliere, 126, 132

Montaigne--value of leisure--quotation, 68

Morley, John, 27

Morris, Mrs., Rossetti's picture painted from, 172; reference to, 179, 180

Morris, William, 'Quarterly Review' article on, 16; 'Chambers's Cyclopaedia,' article on, 173; 'Odyssey,' his translation of, 176; Watts-Dunton's criticism of poems by, 176; intimacy with Watts-Dunton, 170; Watts-Dunton's monograph on, 170, 173-77; indifference to criticism, 173; anecdotes of, 179-82; generosity of, 179; death of, 178-79; Watts-Dunton's reminiscences of:--Marston mornings at Chalk Farm; 'nosey Latin,' 136; Wednesday evenings at Danes Inn; Swinburne, Watts, Marston, Madox Brown and Morris, 170; at Kelmscott, 170; passion for angling, 171; snoring of young owls, 171; causeries at Kelmscott, 173; the only reviews he read, 173; the little carpetless room, 175; writes 750 lines in twelve hours, 176; the crib on his desk, 177; offers to bring out an edition-de-luxe of Watts's poems; gets subscribers; a magnificent royalty, 179; presentation copies; extravagant generosity; 'All right, old chap'; 'Ned Jones and I,' 180; 'Algernon pay 10 for a book of mine!', 181; disgusted with Stead, the music hall singer and dancer; 'damned tomfoolery,' 181

Moulton, Louise Chandler, 4, 301

Mounet-Sully, as Francois I in Le Roi s'Amuse, 125

'Much Ado about Nothing,' 260

Murchison, 45, 50, 52

'Murder considered as one of the Fine Arts,' 220

Muret, Maurice, 374, 400

Music, Watts-Dunton's knowledge of, 38, 89

Myers, F. W. H., 291

* * * * *

'Natura Benigna,' 97; the keynote of 'Aylwinism,' 411

'Natura Maligna,' 408; Sir George Birdwood on, 409