Page:The nature and elements of poetry, Stedman, 1892.djvu/337

Rh "Ancient Mariner," 236; height and decline of his imagination, 238, 239; mastery of words, 241; cited, 81; quoted, 101; and see 27, 58, 119, 142, 162, 170, 173, 226, 245, 248, 266.

Collins, Mortimer, quoted, 97.

Collins, W., 142, 172, 184, 250, 270.

"Colonial" Revival, the recent, 160, 161.

Comedy, Aristophanes and Molière, 99, 100; Terence and Plautus, 100.

Commonplace, its use as a foil, 273; and see Didacticism.

Common Sense, 284.

Comparison, 250.

Complexity, undue, 175.

Composite Art, 76, 164.

Composite Period, the new, 136.

Comus, Milton, 236.

Conception, spontaneity of, 285; and see Imagination.

Configuration, of outline, imagery, etc., 242.

Conscious Thought, 147.

Consensus of the Arts, 50, 163, 199.

Construction, poetic architecture, 174; of plot, etc., 174-176; may be decorated, 177; of a sustained work, 178; imaginative, 237; of the Elizabethan dramatists, 243; and see 4.

Contemplative Poetry, Wordsworth's, 219; and see Truth, Didacticism, etc.

Cook, A. S., editor of Sidney's Defense, 23.

Cooper, J. F., novelist, 137.

Corot, painter, 246.

"Correctness" in Art, 162.

Cory's paraphrase on Callimachus, 89; "Mimnermus," 183.

Cotter's Saturday Night, The, Burns, 268.

Counterpoint, musical, 64.

Couture, painter, 10; quoted, 142.

Cowper, 142, 173, 190, 214; quoted, 274.

Cranch, C. P., quoted, 286.

Creative Eras. See Objectivity.

Creative Faculty, shared by the artist with his Maker, 44, 45; the modern, exercised upon prose fiction, 137, 138; secret of its genius, 163; Shakespeare's pure, 230; its divinity, 234; of the pure imagination, 237; as godlike, 254-258; men as gods, 256; imagined types of passion, 270; and see Objectivity.

Creative Quality. See Objectivity.

Criticism," applied," distinguished from pure, 8; poets as critics, 12; not iconoclastic, 16; recent analytic study of poetry by the public, 41; with respect to modern culture, 59, 60; by law, 80; sometimes to be deprecated, 96; the present a good time for poetic, 138; the best, 142; with respect to beauty, 147 et seq.; English critics of poetry, 162; Browning's, 170; false estimates of Shelley, 218; faulty, 219; Coleridge's, 239; on "states of soul," 272; a recurring question, 275; the present an age of, 296, 297; and see 249, 259.