Page:The nature and elements of poetry, Stedman, 1892.djvu/351

Rh Musset, 120, 290.

Muybridge, E. J., his instantaneous photography, 198, 199.

Myers, F. W. H., on genius, 282.

"My Last Duchess," Browning, 109.

"My Maryland," Randall, 266.

, 264.

Naïveté, of the Psalms, etc., 85; and see 180, also Naturalness.

Narrative poetry, inferior in realism to dramatic, 107; see Objectivity.

National sentiment, the modern Italian, 128; of American verse, 129.

Naturalism, 197; the true, 273.

Naturalness, excellence of genuine feeling, 142; return of, 173; makes for simplicity, 176; affectation of, 177; method should seem unconscious, 193; and see 264.

Nature, trains the poet, 10; Milton's treatment of, 116; normal beauty of, 156, 157; poetry of, from Wordsworth and Bryant to Lanier, 194-196; subjective in recent times, 202-204; the modern return to, 204; does she give solace and sympathy? 204-209; full of motion and unrest, 208; the sovereign of modern art and song, 210; her triumph too prolonged, 211; universally set forth by Shakespeare, 229; and Wordsworth's similes, 250.

Neo-impressionism, 153; and see Impressionism.

Neo-Romanticism, 130.

"Neurotic disorder," the question of, 284.

Newcomes, The, Thackeray, 137.

Nibelungen Lied, 131.

Nineteenth Century, literary eminence of, 138; its idealization of Nature, in art and poetry, 210; Wordsworth's place in, 219.

Norse poetry, sages, 78.

Notre Dame de Paris, Hugo, 137.

Novalis, 142.

Novel, the, and Novelists. See Prose Fiction.

Novels in verse, 237.

Novelty, romantic effect of strangeness, 151; stimulates zest, 160.

, creative and impersonal poetry, 75-110, passim; absolute vision, 77, 78; creative eras, 79; of the Book of Job, 86; the Hebrew idyls, 87, 175; primitive ballads, 94; charm of, in the antique, 96, 97; the Greek drama, 97-101; the dramatic genius, 104; impersonality of the old masters, 107; Homer, 111; Chaucer, 115; Burns, 120; its restorative charm, 121; of certain productions of Shelley, Keats, Landor, 124; masculine, and in the major key, 127; pseudo-impersonality of artistic recent verse, 130, 131; Walter Scott, 131;