Part 20 — INDEX

Academy, Royal, of 1897, 271.

Albert, a story by Tolstoy, 8

Alison, Essay on the Nature and Principles of Taste, 157–8

American publications, 385

Amiel’s Journal, 18, 38–42

Andre, Père, Essai sur le Beau, 146

“Animal of unspoilt scent,” 268

Appraisement of feelings made by religious perception, 278

Approval, a matter of degree, 113

Aristotle, 141, 184

Arnold, Matthew, The Function of Criticism, 382

Art

artisans of, 237

basis of action of, 171

blind alley, 313

“can evoke reverence for the dignity of every man,” 332

canon of, 164

Christian, 285, 288, 293–4

a. Religious, 296

b. Universal, 296, 333

of Church Christianity, 179

“comprehensible to men less educated than our labourers,” 226

content of, 85

definition of, 80–1, 171, 173, 362–3

experimental, 169

physiological evolutionary, 169, 170

metaphysical, 169, 170

destiny of, 333

dramatic form, qualifications needed to produce in, 239

effect on children, 198

empty and vicious, 283

essence of, 237

essential organ, 298

for art’s sake, 77, 87

for enjoyment, first esteemed by whom, 182

future, 313, 318, 320, 368

good of two kinds, 286

impoverishment of subject-matter of, 199

indestructible spiritual organ, 309

indispensable means of communication, 175

infection by, 171

influence of, 287

limited sphere of our, 193

means of intercourse, 170

means of union, 173

and Science: the difference, 225

of Middle Ages, 179–81

neo-esthetic theories of, 170

organ of human progress, 297

organ transmitting man’s reasonable perceptions into feelings, 331

patriotic, 285

productions that were “a temporary pastime,” 195

prostitute of our circle, 311

realistic, 87

recognized by early Christians, 178

should cause violence to be set aside, 331

simple feelings, 318

subject matter of, 197, 287

task to make feeling of brotherhood customary, 332

tendencious, 87

vehicle to draw men towards perfection, 320

which has left no trace, 166

“will lay in the souls of men the rails along which their actions will naturally pass,” 333

will be an organ co-equally important with science for the life of mankind, 331

Artist of the future, 318, 368

Artistic impression, when produced, 231

productions that are “as unintelligible as Sanskrit,” 194

sects exclude one another, 130

Bach, J. S., 269, 292

Ballet-dancers receive more honour than the Saints, 301

Barge with kedge-anchors, 322

Bastien-Lepage, 310

Batteux, 146

Baudelaire, P. C., 207–214, 334–6

Duellum, 208, 334–5

Fleur du mal, 207, 302, 334

La Soupe et les nuages, 209, 335–6

Le Galant Tireur, 210, 336

L’étranger, 209, 335

Petits poemes en prose, 204, 335

Baumgarten, A. G., 143, 187–8

Bayreuth, performances at, 260, 262

Bazin, Réné, La Terre qui meurt, 380

Beauty, 83–5, 143, 148–163, 166–8, 182, 186–7, 189–90, 196, 293, 303, 361, 369

definition of, 163–4

furnishes no criterion of art, 112

is “that which pleases,” 163

Truth and Goodness, 143–7, 156, 189–90

Beecher-Stowe, Harriet, Uncle Tom’s Cabin, 373

Beethoven, L. von, 14, 245–6, 292

Ninth Symphony, 294–5

Opus 101, 269

Benard’s, L’esthétique d’Aristote, 142, 185, 187

Bergmann, J., Ueber das Schöne, 154

Boccaccio, 201

Bodkin Art Gallery (Moscow), 92

Booby Trap, 17, 18

Books for the people, 6

Brandes, Georges, 396, 444

Brevity, clearness and simplicity, 314, 320

Bryulov, K. P., “Art begins where the wee bit begins,” 247

Burke, Edmund: The Sublime and Beautiful, 146

Büttnerbauer, Der, by W. von Polenz, 18, 378–87

Byron, 201

Caine, Hall, The Christian, 384–5

Caricatures, 293

Cathedral of Victory, 284

Cause of it All, The, by Tolstoy, 7

Cervantes, Don Quixote, 290

Chamber music, 294

Chékhov, A. P., 18–19

Darling, 18, 388–92, 474–89.

Cherbuliez, C. V., 156

Children perverted in service of art, 298

Choir of peasant women, 268

Chopin, F. F., 269

Nocturne in E flat major, 292

Christianity, a turning point, 284

Christ, the teaching of, 308

Church music and ritual, 91

Classification (usually accepted) of writers is harmful, 386

Cloudy conceptions “usually presented with aplomb,” 137, 361

Coins that “resemble real money,” 234

Cold-drawn works of art, 238

Comte, Auguste, 450–1

Condemnation of new art unjust, 222

Conditions of production of art, 238

counterfeit art, 237–40

tragedy, 420

Cone of art, the, 228

Confession, Tolstoy’s, 8–12

Confusion of religious cult with religious perception, 280

Corruption of class nourished by false art, 192

Coster, G. H. de, 156

Counterfeits of art, how manufactured, 237–240

caused by:

a) Professionalism 241–6

b) Art Criticism 241–6

c) Schools of Art 241–6

Cousin, Victor, 154

Criticism, 382, 386–7

great importance of, 387

Critics, 242

Crosby, Ernest H., Shakespeare on the Working Classes, 393

Dancer, 248

Dante, 296

Darling, by A. P. Chekhov, 18, 388–92, 474–89.

Darwin, Charles, 169, 450–1

Descent of Man, 158

Darwin, Erasmus, 158

Dealers in the temple of art, 316

Decadent art, 233

Decadents, 207, 214, 217, 221–2, 228

Definition of art, 80–81, 171, 173, 362–3

needed, of art, 133

of any human activity, 166

Diamonds differ from paste, 267

selecting by touch, 455

Dickens, Charles, 7, 288, 310, 385

Christmas Carol, 7, 107

David Copperfield, 290

Pickwick Papers, 290

Diderot, D., 146

Dostoevski, F. M., 288–9, 310

Memoirs from the House of Death, 289

Doumic, René, Les Jeunes, 201, 206–7

Dragon, the, in Siegfried, 257–8

Drama, 219, 232, 247, 452–5

physiological effects in, 235

Dreyfus affair, 449–450

Druzhínin, A. V., 46

Durand-Ruel, art gallery, 218

Elementary Schools, 314–5

Eliot, George, 385

Adam Bede, 289

Emerson, Ralph Waldo, 385

Erections of lies obstruct study of life, 324

Essays and Letters, Tolstoy’s, 8

Essence of art: “that simple feeling compelling us to mingle souls with another,” 273

Esthetic theory, the, of indifference of art to good or evil, 456–7, 460

Euphuism, 203, 438

Exclusive art, 365

Fairy-tale, lullaby, riddle, jest, or sketch, 318

Falstaff, 431–2

Fashionable art depends on the slavery of the masses, 194

Feelings, the highest, 367

conveyed, quality of feelings, 107

simple, 362

three, the subject-matter of upper-class art, 200

Fichte, J. G., 148–9

First Distiller, The, by Tolstoy, 7

Folgeldt, on art, 165

Folk-art and children’s art, 7, 318

Food, 223–4, 369

for body and mind, 93

question, the, 166–7

Form of art, 364–5

Fourier, F. M. C., phalansteries, 450–1

Francis of Assisi, 181, 183

French drama, 454

Gárshin, V. M., 46

Gautier, Théophile, 204

Gay, N. N., The Last Supper, 17, 29–32

What is Truth?, 36–7

Judgment, 289

Genesis, “the epic of,” 224

George, Henry, 104

Gérôme, Leon, Pollice Verso, 290

Gervinus, Dr. G. G., 438–444

Gevaert, Fierens, Essay sur l’art contemporain, 157

Goethe, J. W., 296, 455, 458, 461

Wilhelm Meister, 165

Faust, 234

Goncharev, I. A., 199

“Good art pleases everyone,” 224

Gospel parables, 224, 226

Gourmont, Rémy de, Les Chevaux de Diomède, 202

Grant Allen, 169

Physiological Æsthetics, 159

Greeks, ancient, 184, 187, 279–80, 367

a small, semi-savage, slaveholding people, 188

Grot, Professor, 117, 118

Guyau, Les Problèmes de l’esthétique contemporaine, 136, 156

Habituation to bad art, 224, 366

Hallam, Henry, 395

Hamlet, 272, 394, 432–5, 444

lack of character, 432–4

Harsnet, Dr. Samuel, 409

Hartmann, Edward von, 153

Hauptmann, G., Hanneles Himmelfahrt, 235

Die versunkene Glocke, 220

Hauser, Kaspar, 174

Hazlitt, William, 395

Hebrew art, 280

prophets, 198, 203

Hegel, G. W. F., 150–1, 450–1

Heine, Heinrich, 201

Helmholz, H. von, 154

Hemsterhuis, Frans, 147

Herbart, J. F., 152

Herder, J. G. von, 144

Hero, with hat à la Guillaume Tell, 230, 257

Home, Henry (Lord Kames), 146

Homer, 102, 198, 438–9

Iliad and Odyssey, 226

and Shakespeare, 438

How to Read the Gospels, 376

Hugo, Victor, 50, 310, 288, 396

Les Misérables, 50, 310, 396

Les Pauvres Gens, 288

Human life filled with art, 363

Humboldt, W., 148

Hungarian csárdäs, 269

Huret, Jules, 206

Hutcheson, Francis, Inquiry into the Original of our Ideas of Beauty and Virtue, 145

Huysmans, J. K., Là-Bas, 221

Hypnotic and epidemic suggestions, 263, 448–51, 453–9

Ibsen, Henrik: The Master Builder and Little Eyolf, 219–220

Imitation art, methods of producing:

a. Borrowing, 230–6, 261

b. Imitating, 230–6, 261

c. Action on nerves, 230–6, 261

d. Interesting, 230–6, 261

Important what feelings spread, 366–7

Impressionist and Neo-impressionist art, 218–9

Infectiousness of art, 364–8

Injurious effect of security and luxury on artist, 316

Internal test of art, 365

Japanese art, 365

Jest, riddle, fairy-tale, lullaby, or sketch, 318

Johnson, Dr. Samuel, 395

Joseph, the story of, 225, 290

Jouffroy, T. S., 154–5

Jungmann, J., 154

Kant, I., 145, 147–8

Karr, Alphonse, 220

Ker, W. P., Essay on the Philosophy of Art, 159

King Lear, 394 et seq.

King Leir, superior to Shakespeare’s King Lear, 424–429

Kipling, Rudyard, 221, 270, 385

Kirchmann, Julius von, 153–4

Knight, Wm., Philosophy of the Beautiful, 159–160, 185

Knight, R., An Analytical Enquiry into the Principles of Taste, 158

Kralik, R., Weltschönheit, 134–6, 140

Kramskoy, I. N., 289

Krause, K. C. F., 150

Krasota (Russian word)—how used, 138

Kreutzer Sonata, 14–16

Labour, enormous, expended on art, 125 et seq.

La Bruyère, Jean de, 466

Lachelier, J., 155

Langley, W., 272, 289

Language of art understood by all, 225

La Rochefoucauld, F., Duc de, 466

Latin grammar, 299

Lear’s inappropriate talk with fool, 401

unnatural credulity and distrust, 399, 420

verbose absurdities, 405–6

Leopardi, J., 201

Lepage, Bastien, 310

Lérmontov, M. Yu., 384

Lessing, G. E., 144

Lévêque, C., 138, 140, 154–5

Lhermitte, Léon, 310

Life, understanding of, 176

Loss of capacity to be infected by art, 298

Lowell, J. R., 385

Lucern, by Tolstoy, 8

Lullaby, fairy-tale, riddle, jest, or sketch, 318

Lyric poetry, 251–2

Macbeth, 394

Maeterlinck, Maurice, 214

Les Aveügles, 220

Mallarmé, S., 205–6, 214–5

Devagations, 215

Malthus, T. R., 188

“Man sieht die Absicht und man wird verstimmt,” 422

Marcus Aurelius, 66

Marx, Karl, 188

Materialism, 109

Maupassant, Guy de, 17, 46–71, 290

Bel-ami, 52, 54, 55, 57, 59, 64

Fort comme le mort, 55–8

Histoire d’une fille de ferme, 48, 50

Horla, 67

La Femme de Paul, 48, 50

La Maison Tellier, 46

La Petite Roque, 66

L’armoire, 66

Le champ d’oliviers, 66

Le papa de Simon, 50

L’ermite, 66

Miss Harriet, 66

Monsieur Parent, 66

Mont Oriol, 54–5, 58

Notre cœur, 55–6, 58, 65

Pierre et Jean, 55, 58, 60

Solitude, 67

Sur l’eau, 50, 66

Un cas de divorce, 66

Une vie, 50–2, 54, 57, 64

Une partie de campagne, 48, 50

Yvette, 58–9, 65

Mayer, von Liesen, Signing the Death Warrant, 289

Melody, 291–2

Men seldom recognise truth that exposes falsity of their pet beliefs, 265

Mendelssohn, 144

Middle Ages, 86, 198

Millet, Jean Francois, 310

The Man with a Hoe, 289

Mithalter, Julius, Rätsel des Schönen, 137

Molière, 290

Montaigne, M. E. de, 466

Montesquieu, C. de S., Baron de la Brèda, et de, 466

Montesquiou-Fezensac, le comte Robert de, 207, 217, 350–2

Moralities (plays), 452

Morality regarded as “an antiquated affair,” 303

Morality and art, 364, 371–2

Morel, E., Terre Promise, 221

Morris, William, 94–6

Moscow, performance of Siegfried, 253–60

Mozart, W. A. C., 269, 292

Magic Flute, 250

Müller, Adam, 149

Muratori, L. A., 147

Music, 6, 13, 14–16, 17, 220, 232–3, 235–6, 245, 247–8, 291–2, 294–5

Musical art, qualifications needed to produce, 239

Muther, Richard, The History of Art in the Nineteenth Century, 165

Mysteries (plays), 452

Mysticism, 109

Mythological allusions, 203

Nadson, S. Ya., 385

Natasha Rostova (in War and Peace), 8

Negro melodies, 102

Nekrásov, N. A., 385

Nicholas Rostov, (in War and Peace), 8, 16

Nietzsche, F. W., 206, 303, 385, 451

Obscurity in art esteemed, 203–4

On Art, 75–90

“One touch of nature,” 362

Opera, rehearsal of an, 125–9

Siegfried, 253–60

Orators, 362, 370–1

Ornaments, 293

Ostróvski, A. N., 461

Minin, 244

Othello, 429–31

powerful movement of feeling in, 430

Pagano, F. M. S. A. C. P., 147

Painting, 232, 244, 292

and sculpture, qualifications necessary to produce, 239, 293

Paris exhibitions, 218

Parnassians, 205–6, 213

Pascal, Blaise, 40, 190, 466

Pastime for the idle crowd of rich, some art merely a, 366

Patti, Adelina, 302

Peasant art, 277

labourers, 105

Péladan, Joséphin, 157, 207

Perplexity of plain folk, 300

Peter of Chelczic, 183

Petersburg, 9

Pleasure of art, 82

Pickwick Papers, The, 435

Pictet, Adolph, 155

Pierre Louÿs, Aphrodite, 202

Pilate, Pontius, 36–7

Pilo, Mario, La Psychologie du Beau et de l’Art, 156–7

Pissarro, Camille, 218

Plato, 92, 141, 183–7

The Republic, 175, 307

Poems, qualifications needed to write, 238

Poetic, “means borrowed,” 234

subjects, 261

Polenz, W. von, Der Büttnerbauer, 18, 378 et seq.

Popularity, 103

Pózdnyshev (in The Kreutzer Sonata), 12–15

Predetermination (an author’s) evokes distrust, 259

Prévost, Marcel, 201

Printed matter a vast obstacle to enlightenment, 383

the necessity of, 73

Printing, 383

Purpose of art, the, 278

Pushkin, 301–2, 384, 461

Tales, 290, 384, 461

Borís Godunóv, 244

Evgéni Onégin, 244

The Gipsies, 244

Puvis de Chavannes, P. C., 218

Qualities, Three—of works of art

a) Content, 445–6

b) Beauty, 445–6

c) Sincerity, 445–6

Ragnar Redbeard, 303

Raphael, 296

Ravaisson, F., La Philosophie en France, 155

Realism in art, 77–8, 234

Re-appraisement of knowledge needed, 330

Reformers’ objection to art, 91

Reid, Thomas, 157

Religion and Morality, by Tolstoy, 375

Religious art, 310

Religious perception, 108, 176–8, 197–200, 278, 281–5, 310, 317, 322, 367, 372, 374–5

lack of, 182

the consciousness of the brotherhood of man, 331

Renaissance, The, 182, 200, 282, 453, 460

Renan, Ernest, Marc Aurèle, 61, 62, 134

L’Abbesse de Jouarre, 62

Resurrection, by Tolstoy, 111

Riddle, fairy-tale, lullaby, jest, or sketch, 318

Rider Haggard, 385

Romanticists, 221

Romeo and Juliet, 394

Rossi, Ernesto, 272

Royal Academy of 1897, 271

Ruge, Arnold, 151

Ruskin, John, 94–5, 378

Russian poetry, 384

St. Anthony, The Temptation of, 271

Sand, George, 49, 450–1

La petite Fadette, 49

La mère aux diables, 49

Schasler, M., Kritische Geschichte der Aesthetik, 140–1, 186–7

Schelling, F. W. J., 149, 150

Schiller, J. C. F. von, 148, 169, 288, 295

Schlegel, F., 149

Schnaase, Karl, Geschichte der bildenden Künste, 153

Schopenhauer, A., 153, 246

Science, 30, 321–29

and art closely united, 322

for science’s sake, 324

inventions in natural, 324

of esthetics has failed, The, 361

purpose of real and pretended, 325–6

Sexual relations, 305

Shaftesbury, A. A. C., third Earl of, 145

Sketch, fairy-tale, lullaby, riddle, jest, 318

Shakespeare, William, 18, 19, 393–463

devoid of sense of proportion, 437

his apt use of gestures, 435

his characters are borrowed from earlier works, 424

do not accord with their period or place, 421

lack individuality of language, 422

talk as real people never could talk, 423

his delineation of character, 422

effect on the young of laudation of Shakespeare, 462–3

his exaggeration, 438

his fame: first cause of, 456

King Lear, 394–429, 436–7

Albany’s unnatural speech, 410

Edgar and Kent not recognized by people who knew them well, 406

Gloucester’s unnatural credulity, 400, 403, 412

his Kings, 399, 423

his masterly development of scenes, 455

movement of feeling powerfully expressed by, 435

not an artist, 438

his patriotism, 445

his practical mastery of stage-craft, 19

Romeo and Juliet, 165

“The end justifies the means,” 445

Thoughts arising from sound of words, 409

Shaw, Bernard, 17

Shelley, P. B., 395

“Sick send the hale to bed, the,” 227

Simple direct artistic impression, 455

Sincerity in Art, 84–5

Socrates, 141, 184, 186, 190

Solger, K. W. F., Vorlesungen über Æsthetik, 150

Spaletti, Saggio sopra la bellessa, 147

Spectrum Analysis of Milky Way, lecture on, 318

Speech, 170, 173–4, 224, 297

Spencer, Herbert, 158, 169

Spiritual Censor (Russian), 119

Spiritualists, 262

Stead, W. T., 7

Sténka Rázin, 304

Story of an Easter Cake, 270

Story or novel, qualifications needed to write, 238

Subject, and subject-matter, 369

Subject-matter of art, 364

Sue, Eugène, 450–1

Sully, James, Sensation and Intuition, 160, 169, 170

Sulzer, George, 144

“Supremacy of Artistic Element in Literature,” 4

Swinburne, A. C., 396

Symbolic pictures, 294

Symbolists, 207, 218, 219

Taglioni, Maria, 302

Taine, Henri, 156

Tasso, Torquato, Jerusalem Delivered, 296

Tatiana Lvóvna (Mme. Sukhotin), 218

“Tendencious art,” 77

Test of great philosophy, 369

Thackeray, W. M., 385

Three religions, 375

“To be or not to be,” 433

Todhunter, John, Theory of the Beautiful, 158–9

Tolstoy’s final conclusions on art, 377

fitness to deal with the problem, 97, 98, 373

lecture on literature, 4

view of life, 367

Tolstoy, Alexey, 385, 461

Tsar Borís, 244

Truth, 190

Turgénev, K. S., The Quail, 271

A Sportsman’s Notebook, 199

Twenty-three Tales, by Tolstoy, 7, 8

“Two live leaves cannot be exactly alike,” 251

Tyútchev, Th. I., 384

Uncle Tom’s Cabin, 288, 373

“Understand the error we are involved in,” 307

Understood by men less educated than our labourers, art was, 226, 365

Unintelligible art, 223

Union with men of the past and the future, through art, 287

Universal art, 106, 229, 310, 365

Vasnetsov, V. M., 271

Vauvenargues, Marquis de, 466

Vedas, hymns of the, 226

Verbal art, 232

Verlaine, Paul, 207, 210–4, 302, 336–7

Ariettes oubliées, 211, 212

La Sagesse, 212, 213

Veron, L’esthétique, 157, 169, 170

Versifiers, with broken tongues, 253

Villiers de l’Isle Adam, Contes Cruels, L’Annonciateur, 221

View of life, 9

View of life unconsciously permeating artistic work, 457

Vischer, Theodor, 152

Vogüé, C. J. M. Marquis de, 394

Vogul play, 272

Voltaire, F. M. A. de, 147, 227

Wagner, Richard, 206, 233, 250–64

“a limited self-opinionated German of bad taste,” 259

explanation of his success, 260–262

his great ability, 261

his “model work of counterfeit art,” 253

Walkley, A. B., 18

Walter, Geschichte der Æsthetik im Altertum, 142

on Plato, 187

War and Peace, 8, 16

Weisse, C. H., 151

Welfare lies in union, 309

What is Art, 1, 91–377

premature publication of in Paris, 3

What Then Must We Do?, 12

Whittier, J. G., 385

Wilde, Oscar, 303

Winckelmann, J. J., 144

Wolf, encounter with a, 172

Yakútsk ornaments, 293

Yásnaya Polyána, 4, 21

Yawning, 171

Zola, Émile, 270

La Terre, 49