«Танец жизни»

Мы не можем быть уверены, что эта трансформация произойдет. Мы не можем быть уверены, что она вообще возможна, если общее качество населения, в котором должен совершиться столь тонкий процесс, не будет повышено более жестким евгеническим процессом, чем тот, к осуществлению которого у нас пока нет реальной решимости. Люди все еще поклоняются фетишу простого количества населения, и это поклонение может стать их погибелью. Гигантские социальные организмы, подобно гигантским видам животных ранних эпох, могут быть обречены на внезапное исчезновение, как только они достигнут своего предельного расширения.

Даже если это так, даже если произойдет разрыв непрерывности в ходе цивилизации, даже тогда, как опять же считал Жюль де Готье, нам не стоит отчаиваться, ибо жизнь — это источник вечного воодушевления. Ни одно существо на земле не терзало себя так, как человек, и никто не возносил более ликующего «Аллилуйя». Все еще было бы возможно воздвигнуть места убежища, монастыри, где жизнь была бы полна радости для мужчин и женщин, призванных своим призванием заботиться только о красоте и знании, и таким образом передать будущему поколению живой факел цивилизации. Читая Палладия, читая Рабле, мы понимаем, сколь обширное поле открыто для человеческой деятельности между Фиваидой с одной стороны и Телемской обителью с другой. Из такого пепла вполне мог бы возникнуть новый мир. Закат — это обещание рассвета.

КОНЕЦ

УКАЗАТЕЛЬ

Abortion, once practised, 354.

Absolute, the, a fiction, 101.

Abyssian Church, dancing in worship of, 45.

Acting, music, and poetry, proceed in one stream, 36.

Adam, Villiers de l’Isle, his story Le Secret de l’ancienne Musique, 25.

Addison, Joseph, his style, 161-63, 184.

Adler, Dr. Alfred, of Vienna, 336, 337.

Adolescence, idealisation in, 107, 108.

Æschylus, developed technique of dancing, 56.

Æsthetic contemplation, 314, 315, 325, 326;

recognised by the Greeks, 330, 331;

two kinds of, that of spectator and that of participator, 331, 332;

the Shaftesbury attitude toward, 332, 333;

the Swift attitude toward, 333;

involves life as a spectacle, 333, 334;

and the systems of Gaultier and Russell, 343;

engenders neither hatred nor envy, 346.

Æsthetic instinct, to replace moralities, religions, and laws, 340, 341, 343-45;

differentiated from other instincts, 346;

has the character of morality, 346.

Æsthetic intuitionism, 260, 276, 279, 314.

Æsthetic sense, development of, indispensable for civilisation, 345;

realises morality when unburdened with moral intentions, 346;

mixed with primitive manifestations of life, 350;

correlated with diffused artistic instinct, 350 n.;

seems to be decreasing, 350-52.

Æsthetics, and ethics, among the Greeks, 247;

with us, 348;

in the Greek sense, 263;

the founders of, 271, 329;

and art, the unlikeness of, 325-28;

on same plane with mysticism, 330 n.

Africa, love-dance in, 46, 49, 50.

Akhenaten, 28.

Alaro, in Mallorca, dancing in church at, 44, 45.

Alberti, Leo, vast-ranging ideas of, 5.

Alcohol, consumption of, as test of civilisation, 295, 296.

Anatomy, studied by Leonardo da Vinci, 120.

Anaximander, 89.

Ancestry, the force of, in handwriting, 157, 158;

in style, 158-61, 190.

Anna, Empress, 59.

Antisthenes, 249 n.

«Видимость», 219 прим.

Aquinas, Saint Thomas, 202.

Arabs, dancing among, 38.

Arbuckle, one of the founders of æsthetics, 271;

insisted on imagination as formative of character, 272.

Архитектура. См. Строительство.

Aristophanes, 311.

Aristotle, 89;

on tragedy, 56;

on the Mysteries, 242;

on the moral quality of an act, 248;

его использование термина «нравственное чувство», 273;

on Art and Nature in the making of the State, 313;

его использование термина «художники», 313;

his view of poetry, 318;

and the contemplative life, 330 n.

Art, life as, more difficult to realise than to act, 1, 2;

universe conceived as work of, by the primitive philosopher, 1;

life as, views of finest thinkers of China and Greece on, 2-6, 247-52;

whole conception of, has been narrowed and debased, 6, 7;

in its proper sense, 7, 8;

as the desire for beautification, 8;

of living, has been decadent during the last two thousand years, 8 n.;

Napoleon in the sphere of, 10;

of living, the Lifuan, 13-18;

of living, the Chinese, 27;

Chinese civilisation shows that human life is, 30;

of living, T’ung’s story the embodiment of the Chinese symbol of, 33;

life identical with, 33-35;

of dancing, 36, 51-67, see Dancing;

of life, a dance, 66, 67;

science and, no distinction between, in classic times, 68;

science and, distinction between, in modern times, 68-70;

science is of the nature of, 71;

represented by Pythagoras as source of science, 74;

Greek, 76 n.;

of thinking, 68-140, see Thinking;

the solution of the conflicts of philosophy in, 82, 83;

philosophy and, close relationship of, 83-85;

impulse of, transformed sexual instinct, 108-12;

and mathematics, 138-40;

of writing, 141-190, see Writing;

Man added to Nature, is the task in, 153;

the freedom and the easiness of, do not necessarily go together, 182;

of religion, 191-243, see Religion;

of morals, 244-84, see Morals;

the critic of, a critic of life, 269;

civilisation is an, 301, 310;

consideration of the question of the definition of, 310-12;

Nature and, 312, 313;

the sum of the active energies of mankind, 313;

and æsthetics, the unlikeness of, 314, 315, 325-28;

a genus, of which morals is a species, 316;

each, has its own morality, 318;

to assert that it gives pleasure a feeble conclusion, 319;

on the uselessness of, according to Schopenhauer and others, 319-21;

meaninglessness of the statement that it is useless, 322;

sociological function of, 323, 324;

philosophers have failed to see that it has a morality of its own, 324, 325;

for art’s sake, 346, 347.

Artist, partakes of divine nature of creator of the world, 2;

Napoleon as an, 10-12;

the true scientist as, 72, 73, 112;

the philosopher as, 72, 73, 85;

explanation of, 108-12;

Bacon’s definition of, Man added to Nature, 153;

makes all things new, 153;

in words, passes between the plane of new vision and the plane of new creation, 170, 178;

life always a discipline for, 277;

lays up his treasure in Heaven, 307;

Man as, 310;

is a maker, 312;

Aristotle’s use of the term, 313;

reveals Nature, 320;

has to effect a necessary Bovarism, 348, 349.

Artistic creation, the process of its birth, 108, 109.

Arts, sometimes classic and sometimes decadent, 8 n.;

and sciences, 68-70;

Master of, 69.

“Arty” people, 6, 7.

“As if,” germs of doctrine of, in Kant, 87;

мир, и «Идеи» Платона, 88;

source of the phrase, 88, 89;

seen in play, 89;

the doctrine of, not immune from criticism, 102;

fortifying influence of the doctrine, 102, 103.

См. Художественная литература, Файхингер.

Asceticism, has nothing to do with normal religion, 222, 223;

among the Greeks, traced, 249 n.;

and Christianity, 249 n.

Asclepios, the cult of, 197 n.

Atavism, in handwriting, 157, 158;

in style, 158-61, 190.

Athenæus, 55, 353 n.;

his book about the Greeks, 76 n.

Atom, a fiction or an hypothesis, 97, 338;

the structure of, 97 n.

Attraction, force of, a fiction, 98.

Aurelius, Marcus, regarded art of life as like the dancer’s art, 66;

his statement of the mystical core of religion, 207;

adopted æsthetic criterion of moral action, 279.

Australians, religious dances among, 40.

Auto-erotic activities, 110, 111.

Axioms, akin to fiction, 94, 95.

Babies, 105.

Bach, Sebastian, 62, 311.

Bacon, Francis, his definition of the artist, Man added to Nature, 153;

his style compared with that of Shakespeare, 160;

the music of his style, 163;

heavy and formal letters of, 184;

his axiom, the right question is half the knowledge, 325.

Bacon, Roger, on the sciences, 68.

Balguy, Rev. John, 274.

Ballad, a dance as well as song, 62.

Ballet, the, chief form of Romantic dancing, 53;

the germ of, to be found in ancient Rome, 56;

origin of the modern, 56;

the Italian and the French, 56-58;

decline of, 58;

the Russian, 58-60;

the Swedish, 60.

Bantu, the question of the, 38, 45.

Baptism, 242.

“Barbarians,” the classic use of the term, 285.

Barebones, Praise-God, 272.

Baretti, G. M., 50.

Bastien-Lepage, Jules, 311.

Baudelaire, Charles, on vulgar locutions, 151.

Baumgarten, A. G., the commonly accepted founder of æsthetics, 326.

Bayaderes, 52.

Bayle, G. L., 261.

“Beautiful,” the, among Greeks and Romans, 247, 252.

Beauty, developed by dancing, 47;

as an element of literary style, 176-78;

and the good, among the Greeks, 247;

Plotinus’s doctrine of, 250, 251;

of virtue, 270 n.;

æsthetic contemplation creates, 315, 327, 328;

and prettiness, 315 n.;

revelation of, sometimes comes as by a process of “conversion,” 328, 329.

Bee, the, an artist, 312.

Beethoven, 311;

his Seventh Symphony, 62, 63.

Beggary in China, 31.

Benn, A. W., his The Greek Philosophers, 6, 252, 277 n.

Bentham, Jeremy, adopted a fiction for his system, 99.

Berenson, Bernhard, critic of art, 114;

his attitude toward Leonardo da Vinci, 114, 117.

Bergson, Henri Louis, pyrotechnical allusions frequent in, 23;

regards philosophy as an art, 83, 84;

on clarity in style, 176, 177;

his idea of intuition, 232 n.;

on reality, 320.

Berkeley, George, 95.

Bernard, Claude, personality in his Leçons de Physiologie Expérimentales, 144.

Bible, the, the source of its long life, 179.

См. Ветхий Завет, Откровение.

Birds, dancing of, 36 n., 45;

the attitude of the poet toward, 168.

Birth-rate, as test of civilisation, 294, 296, 299 n.

“Bitter,” a moral quality, 264.

Blackguard, the, 244, 245.

Blake, William, on the Dance of Life, 66;

on the golden rule of life, 281.

Blasco Ibañez, 171.

Blood, Harvey’s conception of circulation of, nearly anticipated by Leonardo da Vinci, 120.

Буагильбер, Пьер Ле Пезан, сеньор де, его «барометр процветания», 287.

Botany, studied by Leonardo da Vinci, 119.

Botticelli, Sandro, 56.

Bouguereau, G. A., 315 n.

Bovarism, explanation of, 335;

applied to the Universe, 337;

a necessary, effected by the artist, 348, 349.

Brantôme, Pierre de B., his style, 161.

Braun, Otto, 357.

Breton, Jules, 311.

Bridges, Robert, 272.

Browne, Sir Thomas, his style, 161, 175, 176, 178.

Browning, Robert, 113;

too clumsy to influence others, 184.

Brunetière, Ferdinand, a narrow-minded pedagogue, 125.

Bruno, Giordano, 207.

Bruno, Leonardo, 207.

Bryce, James, on democracies, 300.

Bücher, Karl, on work and dance, 61, 62.

Buckle, H. T., 99.

Buddhist monks, 224 n.

Building, and dancing, the two primary arts, 36;

birds’ nests, the chief early form of, 36 n.

Bunyan, John, 79.

Burton, Robert, as regards his quotations, 152.

Bury, J. B., 287 n.

Cabanel, 315 n.

Cadiz, the dancing-school of Spain, 54.

Camargo, innovations of, in the ballet, 57.

Carlyle, Thomas, revelation of family history in his style, 158, 159;

compared to Aristophanes, 159 n.;

too clumsy to ninfluence others, 184.

Carpenter, the, sacred position of, in some countries, 2.

Carr-Saunders, A. M., on the social ladder and the successful climbers, 299, 300;

on selecting the best stock of humanity, 354.

Cassirer, Ernest, on Goethe, 137 n.

Castanets, 54.

Casuistry, 304 n., 305.

Categories, are fictions, 94.

Cathedrals, dancing in, 44, 45.

Ceremony, Chinese, 22, 29;

and music, Chinese life regulated by, 24-26.

Cézanne, artist, 153, 315 n.

Chanties, of sailors, 61, 62.

Cheetham, Samuel, on the Pagan Mysteries, 241 n.

Chemistry, analogy of, to life, 33-35.

Chess, the Chinese game of, 23.

Chiaroscuro, method of, devised by Leonardo da Vinci, 117.

Chidley, Australian philosopher, 79-82.

China, finest thinkers of, perceived significance in life of conception of art, 3;

art animates the whole of life in, 27, 28;

beggary in, 31.

Chinese, the, the accounts of, 18-21;

their poetry, 21, 22, 29, 32;

their etiquette of politeness, 22;

the quality of play in their character, 22-24;

their life regulated by music and ceremony, 24-26, 29;

their civilisation shows that life is art, 27, 28, 30;

the æsthetic supremacy of, 28-30;

endurance of their civilisation, 28, 30;

their philosophic calm, 29 n.;

decline in civilisation of, in last thousand years, 30;

their pottery, 32, 33;

embodiment of their symbol of the art of living, 33.

Chinese life, the art of balancing æsthetic temperament and guarding against its excesses, 29.

Choir, the word, 42.

Christian Church, supposed to have been originally a theatre, 42.

Christian ritual, the earliest known, a sacred dance, 42.

Christian worship, dancing in, 42-45;

central function of, a sacred drama, 43.

Christianity, Lifuan art of living undermined by arrival of, 18;

dancing in, 40-45;

the ideas of, as dogmas, hypotheses, and fictions, 99;

and the Pagan Mysteries, 242;

and asceticism, 249 n.;

the Hebrew mode of feeling grafted into, 276.

Chrysostom, on dancing at the Eucharist, 43.

Church, and religion, not the same, 228 n.

Church Congress, at Sheffield in 1922, ideas of conversion expressed at, 220 n.

Churches, 351.

Cicero, 73, 252.

Cinema, educational value of, 138.

Cistercian monks, 43.

Cistercians, the, 347.

Civilisation, develops with conscious adhesion to formal order, 172;

standards for measurement of, 285;

Niceforo’s measurement of, 286;

on meaning of, 287;

the word, 288;

the art of, includes three kinds of facts, 289;

criminality as a measure of, 290, 291;

creative genius and general instruction in connection with, 291-93;

birth-rate as test of, 294;

consumption of luxuries as test of, 294, 295;

suicide rate as test of, 295;

tests of, applied to France by Niceforo, 295-97;

not an exclusive mass of benefits, but a mass of values, 297;

becoming more complex, 298;

small minority at the top of, 298;

guidance of, assigned to lower stratum, 298, 299;

art of eugenics necessary to save, 299, 300;

of quantity and of quality, 300;

not to be precisely measured, 301;

the more rapidly it progresses, the sooner it dies, 301;

an art, 301, 310;

an estimate of its value possible, 302;

meaning of Protagoras’s dictum with relation to, 302;

measured by standard of fine art (sculpture), 307, 308;

eight periods of, 307, 308;

a fresh race needed to produce new period of, 308;

and culture, 309;

æsthetic sense indispensable for, 345;

possible break-up of, 358.

Clarity, as an element of style, 176-78.

Clichés, 149-51.

Cloisters, for artists, 358.

Cochez, of Louvain, on Plotinus, 249 n.

Coleridge, S. T., his “loud bassoon,” 169;

of the spectator type of the contemplative temperament, 332.

Colour-words, 164 n.

Colvin, Sir Sidney, on science and art, 70.

Commandments, tables of, 253, 255.

Communists, French, inspired by Shaftesbury, 269.

Community, the, 244.

Comte, J. A., 301.

Confucian morality, the, 29.

Confucianism, outward manifestation of Taoism, 26.

Confucius, consults Lao-tze, 25, 26.

Conrad, Joseph, his knowledge of the sea, 171.

Созерцание. См. Эстетическое созерцание.

Convention, and Nature, Hippias makes distinction between, 5.

Условности. См. Традиции.

Conversion, a questionnaire on, 210 n.;

the process of, 218;

the fundamental fact of, 218, 218 n.;

essential outlines of, have been obscured, 220 n.;

Churchmen’s ideas of, 220 n.;

not the outcome of despair or a retrogression, 221, 222;

nothing ascetic about it, 222;

among the Greeks, 240;

revelation of beauty sometimes comes by a process of, 328, 329.

Cooper, Anthony, 261.

Корниш, Г. Уорр, его статья «Греческая драма и танец», 56.

Космос. См. Вселенная.

Courtship, dancing a process of, 46.

Cowper, William, 184;

influence of Shaftesbury on, 266.

Craftsman, the, partakes of divine nature of creator of the world, 2.

Creation, not the whole of Man, 314.

Творческие импульсы. См. Импульсы.

Crime, an effort to get into step, 245 n.;

defined, 290;

natural, 290;

evolutive social, 291.

Criminality, as a measure of civilisation, 290, 291.

Critics, of language, 141-51;

difficulty of their task, 153 n.

Croce, Benedetto, his idea of art, 84;

tends to move in verbal circles, 84;

on judging a work of art, 153 n.;

on mysticism and science, 191 n.;

tends to fall into verbal abstraction, 324 n.;

his idea of intuition, 232 n., 320 n.;

on the critic of art as a critic of life, 269;

on art the deliverer, 318 n.;

union of æsthetic sense with artistic instinct, 350 n.

Croiset, Maurice, on Plotinus, 249 n.

Cromwell, Oliver, 272.

Cruz, Friar Gaspar de, on the Chinese, 31.

Culture, and civilisation, 309.

Curiosity, the sexual instinct a reaction, to the stimulus of, 104, 112.

Custom, 245.

Cuvier, Georges, 181.

Cymbal, the, 53.

Dance, love, among insects, birds, and mammals, 45, 46;

among savages, 46;

has gained influence in the human world, 48;

various forms of, 48, 49;

the complete, 49, 50;

the seductiveness of, 50;

prejudice against, 50, 51;

choral, Plotinus compares the moral life of the soul to, 251, 252.

Dance of Life, the, 66, 67.

Dancing, and building, the two primary acts, 36;

possibly accounts for origin of birds’ nests, 36 n.;

supreme manifestation of physical life and supreme symbol of spiritual life, 36;

the significance of, 37;

the primitive expression of religion and of love, 37, 38, 45;

entwined with human tradition of war, labour, pleasure, and education, 37;

the expression of the whole man, 38, 39;

rules the life of primitive men, 39 n.;

religious importance of, among primitive men, 39, 40;

connected with all religions, 40;

ecstatic and pantomimic, 41, 42;

survivals of, in religion, 42;

in Christian worship, 42-45;

in cathedrals, 44, 45;

among birds and insects, 45;

among mammals, 45, 46;

a process of courtship and novitiate for love, 46, 47;

double function of, 47;

different forms of, 48-51;

becomes an art, 51;

professional, 52;

Classic and Romantic, 52-60;

the ballet, 53, 56-60;

solo, 53;

Egyptian and Gaditanian, 53, 54;

Greek, 55, 56, 60;

as morals, 60, 61, 63;

all human work a kind of, 61, 62;

and music, 61-63;

social significance of, 60, 61, 63, 64;

and war, allied, 63, 64;

importance of, in education, 64, 65;

Puritan attack on, 65;

is life itself, 65;

always felt to possess symbolic significance, 66;

the learning of, a severe discipline, 277.

Dancing-school, the function of, process of courtship, 47.

D’Annunzio, Gabriele, 178.

Danse du ventre, the, 49 n.

Dante, 311, 349;

танцы в его «Раю», 43;

intellectual life of, largely guided by delight in beauty of rhythmic relation between law and instance, 73.

Darwin, Charles, 88;

poet and artist, 128, 129;

and St. Theresa, 198.

Darwin, Erasmus, 181.

David, Alexandra, his book, Le Philosophe Meh-ti et l’Idée de Solidarité, 26 n.

Decadence, of art of living, 8 n.;

rigid subservience to rule a mark of, 173.

Degas, 315 n.

Democracies, the smallest, are highest, 300.

Demography, 285.

Demosthenes, 336.

De Quincey, Thomas, the music of his style, 164.

Descartes, René, on arts and sciences, 69;

represents in France new impetus to sciences, 180;

religious, though man of science, 208.

Design, the arts of, 36.

Devadasis, the, sacred dancing girls, 51, 52.

Diaghilev, 59.

Dickens, Charles, 311.

Dickinson, G. Lowes, his account of the Chinese, 20, 21;

his account of Chinese poetry, 21, 22.

Diderot, Denis, wide-ranging interests of, 5;

translated Shaftesbury, 268.

“Dieta Salutis,” the, 43.

Discipline, definition of a, 71 n.

“Divine command,” the, 255.

“Divine malice,” of Nietzsche, 155 n.

Diving-bell, constructed by Leonardo da Vinci, 119.

Divorces, as test of civilisation, 296.

Doctor, and priest, originally one, 197 n., 203.

Dogma, hypothesis, and fiction, 98, 99.

Dogmas, shadows of personal experience, 217.

Dostoievsky, F. M., 311, 349;

his masterpiece, “The Brothers Karamazov,” 135, 136.

Drama, Greek, origin of, 55, 56;

the real Socrates possibly to be seen in, 78.

Driesch, Hans, on his own mental development, 216 n.

Drum, the influence of the, 63.

Dryden, John, 148.

Dujardin, Edouard, his story of Huysmans, 166;

on Bergson’s style, 177.

Dumont, Arsène, on civilisation, 298, 301.

Duncan, Isadora, 60.

Duprat, G. L., on morality, 34.

Dupréel, Professor, on Hippias, 6 n.;

his La Légende Socratique, 82 n.;

on the Protagorean spirit, 302 n.

Duty, 275, 276.

Easter, dancing of priests at, 44.

Eckhart, Meister, 234, 336.

Education, importance of dancing in, 64, 65;

Einstein’s views on, 137;

and genius, as tests of civilisation, 291-93.

Egypt, ancient, dancing in, 42;

Classical dancing originated in, 52;

the most influential dancing-school of all time, 53;

musical instruments associated with dancing, originated or developed in, 53;

modern, dancing in, 54 n.;

importance of its civilisation, 307.

Eight-hours day, the, 357.

Einstein, Albert, 2, 69 n., 72;

substitutes new axioms for old, 95;

casts doubts on Leonardo da Vinci’s previsions of modern science, 120 n.;

seems to have won a place beside Newton, 133;

an imaginative artist, 134;

his fondness for music, 134, 135;

his other artistic likings and dislikings, 135, 136;

an artist also in his work, 136;

his views on science, 137;

his views on education, 137, 138;

on the motives that attract people to science and art, 138, 321;

feels harmony of religion and science, 207;

concerned with truth, 327;

и «наука ради науки», 347 прим.

Eleusinian Mysteries, the, 240-43.

Eliot, George, her knowledge of the life of country people, 171;

Tolstoy’s opinion of, 311.

Ellis, Havelock, childhood of, 210, 211;

his period of emotional and intellectual expansion, 211;

loses faith, 212;

influence of Hinton’s “Life in Nature” on, 215-18.

Els Cosiers, dancing company, 45.

Emerson, R. W., his style and that of Bacon, 161.

Emmanuel, his book on Greek dancing, 55.

Empathy, 66.

Engineering, professional, Leonardo da Vinci called the founder of, 118, 119.

English laws, 98.

English prose style, Cartesian influence on, 180 n.

English speech, licentiousness of, in the sixteenth century, 148;

the best literary prose, 155, 156.

Enjoyment, without possession, 343-46.

Epictetus, 249 n.

Epicurus, 207.

Erosian, river, importance of, realised by Leonardo da Vinci, 120.

Eskimos, 255.

Este, Isabella d’, 123.

Ethics, and æsthetics, among the Greeks, 247.

Etruscans, the, 56, 308.

Eucharist, dancing at the, 43.

Eucken, Rudolf, on Shaftesbury, 271.

Eugenics, art of, necessary for preservation of civilisation, 299;

Galton the founder of the modern scientific art of, 353;

assertion of principle of, by Jesus, 355, 356;

question of raising quality of population by process of, 358.

Eusebius, on the worship of the Therapeuts, 42.

Evans, Sir Arthur, 112.

Evolution, theory of, 88, 104;

a process of sifting, 355;

and devolution, 355;

social, 357, 358.

Existence, totality of, Hippias’s supreme ideal, 6.

Existing, and thinking, on two different planes, 101.

«Выражение», 324.

Facts, in the art of civilisation, material, intellectual, and moral (with political), 289.

Fandango, the, 50.

Faraday, Michael, characteristics of, trust in facts and imagination, 130-32;

his science and his mysticism, 208.

Farnell, L. R., on religion and science, 197 n.

Farrer, Reginald, on the philosophic calm of the Chinese, 29 n.

Faure, Elie, his conception of Napoleon, 10;

on Greek art, 76 n.;

has faith in educational value of cinema, 137;

on knowledge and desire, 154;

on the Greek spirit, 292 n.

Ferrero, Guglielmo, on the art impulse and the sexual instinct, 109.

Fiction, germs of doctrine of, in Kant, 87;

first expression of doctrine of, found in Schiller, 89;

doctrine of, in F. A. Lange’s History of Materialism, 93;

Vaihinger’s doctrine of, 94-103;

hypothesis, and dogma, 98, 99;

of Bovarism, 335, 336;

character constituted by process of, 336.

Fictions, the variety of, 94-100;

the value of, 96, 97;

summatory, 98;

scientific and æsthetic, 102;

may always be changed, 103;

good and bad, 103.

Fiji, dancing at, 49.

Fijians, the, 13 n.

Fine arts, the, 70;

civilisation measured by standard of, 307;

not to be pursued for useful end outside themselves, 322.

Fireworks, 22, 23.

Flaubert, Gustave, is personal, 144;

sought to be most objective of artists, 182.

Flowers, the attitude of the poet toward, 168, 169.

Flying-machines, 72 n.;

designed by Leonardo da Vinci, 119.

Foch, Ferdinand, quoted, 103.

Fokine, 59.

Folk-dances, 62.

Force, a fiction, 96.

Fossils, significance of, discovered by Leonardo da Vinci, 120.

Fox, George, 237.

France, tests of civilization applied to, by Niceforo, 295-97.

Francis of Assisi, 237.

Franck, César, mysticism in music of, 237.

Frazer, J. G., on magic and science, 195, 196.

Freedom, a fiction, 100.

French ballet, the, 57, 58.

French speech, its course, 148, 149.

Freud, Sigmund, 111, 318 n.;

regards dreaming as fiction, 103;

on the probability of the disappearance of religion, 228 n.

Frobisher, Sir Martin, his spelling, 173, 174.

Galen, 120.

Galton, Francis, a man of science and an artist, 126-28;

founder of the modern scientific art of eugenics, 353;

and Jesus’s assertion of the principle of eugenics, 356.

Games, the liking of the Chinese for, 23.

Gaultier, Jules de, 330 n.;

on Buddhist monks, 224 n.;

on pain and pleasure in life, 278 n.;

on morality and reason, 281;

on morality and art, 284;

on the antinomy between morals and morality, 319;

on beauty, 327;

on life as a spectacle, 333;

the Bovarism of, 335-37;

his philosophic descent, 337;

applies Bovarism to the Universe, 337;

his philosophy seems to be in harmony with physics, 338;

the place of morality, religion, and law in his system, 338-40;

place of the æsthetic instinct in his system, 341, 343-45;

system of, compared with Russell’s, 342, 343;

importance of development of æsthetic sense to, 345;

and the idea of pure art, 346, 347;

considers æsthetic sense mixed in manifestations of life, 349, 350;

had predilection for middle class, 356, 357;

sees no cause for despair in break-up of civilisation, 358.

Gauss, C. F., religious, though man of science, 208.

Genesis, Book of, the fashioning of the cosmos in, 1, 314.

Genius, the birth of, 109;

and education, as tests, of civilisation, 291-93;

of country, and temper of the population, 292, 293.

Geology, founded by Leonardo da Vinci, 120.

Geometry, Protagoras’s studies in, 3;

a science or art, 68.

Gibbon, Edward, 162.

Gide, André, 322.

Gizycki, Georg von, on Shaftesbury, 260, 267.

God, a fiction, 100, 337.

Goethe, J. W., 342;

representative of ideal of totality of existence, 6;

называл архитектуру «застывшей музыкой», 135;

his power of intuition, 137;

his studies in mathematical physics, 137 n.;

use of word “stamped” of certain phrases, 149;

mistook birds, 168;

felt harmony of religion and science, 207;

and Schiller and Humboldt, 275.

Gomperz, Theodor, his Greek Thinkers, 4, 5, 6 n.; 75, 78.

Goncourt, Jules de, his style, 182, 183.

Goncourts, the, 183.

Good, the, and beauty, among the Greeks, 247.

Goodness, and sweetness, in Shaftesbury’s philosophy, 262;

and sweetness, originally the same, 263;

moral, originally expressed in terms of taste, 263.

Gorgias, 302.

Gourmont, Remy de, 65;

his remark about pleasure, 24;

on personality, 144;

on style, 177;

on civilisation, 298;

on the Jesuits, 304, 305;

on beauty, 315;

on art and morality, 321;

on sociological function of art, 323.

Government, as art, 3.

Grace, an element of style in writing, 155, 156.

Grammar, Protagoras the initiator of modern, 4;

a science or art, 68;

writing not made by the laws of, 172, 173.

Grammarian, the, the formulator, not the lawgiver, of usage, 148.

Great Wall of China, the, 28.

Great War, the, 339.

Greece, ancient, genius built upon basis of slavery in, 292;

the spirit of, 292.

Greek art, 76 n.

Greek dancing, 55, 56, 60.

Greek drama, 55, 56, 78.

Greek morality, an artistic balance of light and shade, 260.

Greek speech, the best literary prose, 155.

Greek spirit, the, 76 n.

Greeks, attitude of thinkers of, on life as art, 3, 247-53;

the pottery of, 32;

importance of dancing and music in organisation of some states of, 64;

books on, written by barbarians, 76 n.;

mysticism of, 205-07, 240-43;

spheres of ethics and æsthetics not distinguished among, 247;

had a kind of æsthetic morality, 316-18;

recognised destruction of ethical and intellectual virtues, 330;

a small minority of abnormal persons among, 353 n.

Greenslet, Ferris, on the Cartesian influence on English prose style, 180 n.

Groos, Karl, his “the play of inner imitation,” 66;

has developed æsthetic side of miterleben, 332.

Grosse, on the social significance of dancing, 63, 64.

Grote, George, his chapter on Socrates, 76.

Grotius, Hugo, 261.

Guitar, the, an Egyptian instrument, 53.

Gumplowicz, Ludwig, on civilisation, 301.

Gunpowder, use made of, by Chinese, 22, 23.

Guyau, insisted on sociological function of art, 323, 324;

believes that poets and artists will be priests of social religion without dogmas, 349, 350.

Gypsies, possible origin of the name “Egyptians” as applied to them, 54 n.

Hadfield, Emma, her account of the life of the natives of the Loyalty Islands, 13-18.

Hakluyt, Richard, 143;

his picture of Chinese life, 19.

Hall, Stanley, on importance of dancing, 64, 65;

on the beauty of virtue, 270 n.

Handel, G. F., 62.

Handwriting, partly a matter of individual instinct, 156, 157;

the complexity and mystery enwrapping, 157;

resemblances in, among members of the same family, 157, 158;

atavism in, 157, 158.

Hang-Chau, 20.

Hardy, Thomas, his lyrics, 170 n.;

his sensitivity to the sounds of Nature, 171;

his genius unquestioned, 187 n.

Hawaii, dancing in, 51.

Hawthorne, Nathaniel, his style, 161.

Hebrews, their conception of the fashioning of the universe, 1;

ancient, their priests and their prophets, 203;

never conceived of the art of morals, 253;

were no æsthetic intuitionists, 276.

Hegel, G. W. F., 90;

poetic quality of his philosophy, 84;

his attempt to transform subjective processes into objective world-processes, 101.

Heine, Heinrich, 155 n.

Hellenism, the revivalists of, 271.

Helmholtz, H. L. F., science and art in, 72.

Hemelverdeghem, Salome on Cathedral at, 49 n.

Heraclitus, 74.

Herder, J. G. von, his Ideen zur Geschichte der Menschheit, 88;

inspired by Shaftesbury, 268.

Heredity, in handwriting, 157, 158;

in style, 158-61, 190;

tradition the corporeal embodiment of, 161.

Hincks, Marcella Azra, on the art of dancing in Japan, 42 n.

Hindu dance, 41.

Hinton, James, on thinking as an art, 86 n.;

on the arts, 111;

the universe according to, 215, 216;

Ellis’s copy of his book, 220;

on pleasure and pain in the art of life, 278;

on methods of arts and moral action, 281, 282.

Hippias, 302;

significance of his ideas, in conception of life as an art, 4-6;

his ideal, 4, 6;

the Great Logician, 6 n.

Hobbes, Thomas, on space, 95;

his dictum Homo homini lupus, 262.

Hodgson, Shadworth, 289.

Hoffman, Bernhard, his Guide to the Bird-World, 168.

Horace, the popularity of, in modern times, 92.

Hovelaque, Émile, on the Chinese, 27, 28.

Хауэлл, Джеймс, его «Знакомые письма», 184.

Hugo, Victor, 149, 311.

Hula dance, the, 51.

Humboldt, Wilhelm von, 275.

Hume, David, took up fictional point of view, 96;

recognised Shaftesbury, 267;

influenced by Hutcheson, 275.

Hunt, Leigh, sensitively acute critic of Keats, 167.

Hunter, John, 181.

Hutcheson, Francis, æsthetic moralist, 251;

came out of Calvinistic Puritanism, 266;

one of the founders of æsthetics, 271, 326 n.;

wrote the first modern treatise on æsthetics, 271;

represented reaction against Puritanism, 271;

Shaftesbury’s ideas as developed by, 273;

his use of the term “moral sense,” 273, 274;

his impressive personality, 274;

philosophy was art of living to, 274, 275;

inconsistent, 314;

on distinction between art and æsthetics, 326 n.;

his idea of the æsthetic and the moral emotion, 327 n.

Huysmans, J. K., his vocabulary, 165;

at Wagner concert, 166;

fascinated by concert programmes, 166, 167.

“Hymn of Jesus,” the, 42.

Hypothesis, dogma, and fiction, 98, 99.

I and me, 147.

Idealisation, in adolescence, 107, 108.

Idealism, 83.

Idealists, 70, 341 n.

Ideals, are fictions, 100.

Imagination, a constitutive part of thinking, 102;

man lives by, 102;

guarded by judgment and principles, 130-32;

part performed by, in morals, 272;

and the æsthetic instinct, 344.

Imbeciles, 352-55.

Imitation, in the productions of young writers, 164.

Immoral, significance of the word, 246.

Immortality, a fiction, 100.

Impulses, creative and possessive, 306, 307, 341-43.

Inclination, 275.

India, dancing in, 51, 52;

the Todas of, 203 n.

Indians, American, religious dances among, 40, 42.

Infanticide, 255, 354.

Infinite, the, a fiction, 95.

Infinitive, the split, 145-47.

Inge, Dean, on Plotinus, 223 n., 249 n.;

on Pagan Mysteries, 241 n.

Innate ideas, 274.

Insects, dancing among, 45.

Instinct, the part it plays in style, 163;

imitation a part of, 164;

and tradition, mould morals, 254-59;

the possessive, 338-40, 344, 345, 351, see Possessive instinct;

the æsthetic, 341, 343-46, 350, see Æsthetic instinct.

Instincts, 234, 235.

Intelligence, the sphere of, 233, 234.

Intuition, the starting point of science, 137;

meaning of, 232 n.;

of the man of genius, 320.

Intuitionism, æsthetic, 260, 276, 279, 314.

Intuitionists, the, 232-34.

Invention, necessary in science, 137.

Invincible ignorance, doctrine of, 304.

Irony, Socratic, 78, 83.

Irrationalism, of Vaihinger, 90.

Isocrates, on beauty and virtue, 247.

Italy, Romantic dancing originated in, 53, 56;

the ballet in, 56-58.

Jansenists, the, 303.

Japan, dancing in, 42, 49.

Java, dancing in, 49.

Jehovah, in the Book of Genesis, 1.

Jeremiah, the prophet, his voice and instrument, 178, 179.

Jeres, cathedral of, dancing in, 44.

Jesuits, the, 303-05.

Jesus, and Napoleon, 10, 11;

and the Platonic Socrates, 82, 83;

asserts principle of eugenics, 353, 356;

and Plato, 356.

Joël, Karl, on the Xenophontic Socrates, 78;

on the evolution of the Greek philosophic spirit, 206.

John of the Cross, 237.

Johnson, Samuel, the pedantry of, 156;

Latin-French element in, 162;

его идея «материи», 230.

Johnston, Sir H. H., on the dancing of the Pygmies, 51.

Jones, Dr. Bence, biographer of Faraday, 130.

Jonson, Ben, 184.

Joyce, James, 172, 184;

his Ulysses, 185, 186.

Kant, Immanuel, 89;

germs of the doctrine of the “as if” in, 87;

his idea of the art of morals, 253, 254;

influenced by Shaftesbury, 253, 254, 266;

anecdote about, 257 n., 276;

rationalises morality, 281.

Китс, Джон, озабоченный красивыми словами в «Кануне святой Агнессы», 167.

Kepler, Johann, his imagination and his accuracy in calculation, 132, 133.

Keyserling, Count Hermann, his Philosophie als Kunst, 83 n.

“Knowing,” analysis of, 70, 71.

Kolbe, Rev. Dr., illustrates æsthetic view of morals, 276 n.

Lamb, Charles, 184.

Landor, W. S., 149;

on vulgarisms in language, 151 n.;

on the poet and poetry, 154, 172;

on style, 163.

Lange, F. A., his The History of Materialism, 73 n., 83;

sets forth conception of philosophy as poetic art, 83;

the Neo-Kantism of, 87;

his influence on Vaihinger, 92, 93.

Language, critics of present-day, 141-51;

of our forefathers and of to-day, 143;

things we are told to avoid in, 145-51;

is imagery and metaphor, 165;

reaction of thought on, 179-81;

progress in, due to flexibility and intimacy, 183.

Languages, the Yo-heave-ho theory of, 61.

Lankester, Sir E. Ray, 70.

Lao-tze, and Confucius, 25, 26;

the earliest of the great mystics, 204;

harmony of religion and science in his work, 204, 205.

Law, a restraint placed upon the possessive instinct, 339, 340;

to be replaced by æsthetic instinct, 340, 341.

Laycock, on handwriting, 158 n.

Leibnitz, Baron S. W. von, 6 n.;

on space, 95;

on music, 135;

admired Shaftesbury, 268.

«Новый дух», 179.

Libby, M. F., on Shaftesbury, 273.

Lie, Jonas, 163.

Life, more difficult to realise it as an art than to act it so, 1, 2;

as art, view of highest thinkers of China and Greece on, 2-6, 247-52;

ideal of totality of, 6;

art of, has been decadent during last two thousand years, 8 n.;

of the Loyalty Islanders, 13-18;

the Lifuan art of, 13-18;

the Chinese art of, 27, 28;

Chinese civilization proves that it is art, 30;

embodiment of the Chinese symbol of the art of, 33;

identical with art, 33-35;

the art of, a dance, 66, 67;

mechanistic explanation of, 216;

viewed in its moral aspect, 244;

the moralist the critic of the art of, 247;

as art, attitude of Romans toward, 252;

as art, attitude of Hebrews toward, 253;

the art of, both pain and pleasure in, 277, 278;

as art, a conception approved by men of high character, 278, 279;

not to be precisely measured by statistics, 302;

as a spectacle, 333, 334.

Лифу. См. острова Луайоти.

Lifuans, the, the art of living of, 13-18.

Limoges, 44.

Linnæan system, the, a fiction, 99.

Liszt, Franz, 329.

Livingstone, David, 38.

Locke, John, and Shaftesbury, 261, 262.

Locomotive, the, 72 n.

Lodge, Sir Oliver, his attempt to study religion, 201.

Logic, a science or art, 68;

and fiction, 94;

of thought, inescapable, 183.

Loret, on dancing, 54 n.

Love, dancing the primitive expression of, 37, 45;

curiosity one of the main elements of, 112.

Love-dance, 45-51.

См. Танец, Танцы.

Loyalty Islands, the, customs of the natives of, 13-18.

Lucian, 353 n.;

on dancing, 40, 45.

Lucretius, 207.

Lull, Ramon, 237.

Lulli, J. B., brought women into the ballet, 57.

Luxuries, consumption of, as test of civilisation, 294-97.

Machinery of life, 216.

Madagascar, dancing in, 49.

Magic, relation of, to science and religion, 193-96.

Magna Carta, 98.

Malherbe, François de, 148.

Mallarmé, Stéphane, music the voice of the world to, 166.

Mallorca, dancing in church in, 44, 45.

Mammals, dancing among, 45, 46.

Man, has found it more difficult to conceive life as an art than to act it so, 1;

his conception less that of an artist, as time went on, 2;

in Protagoras’s philosophy, 3, 4, 302;

ceremony and music, his external and internal life, 25;

added to Nature, 153;

has passed through stages of magic, religion, and science, 196;

an artist of his own life, 271;

is an artist, 310;

as artist and as æsthetician, 314;

becomes the greatest force in Nature, 339;

practices adopted by, to maintain selection of best stock, 354.

Mandeville, Sir John, on Shaftesbury, 262.

Manet, 311.

Marco Polo, his picture of Chinese life, 19, 20;

noticed absence of beggars in China, 31;

on public baths in China, 32.

Marett, on magic and science, 195.

Marlowe, Christopher, 170, 184.

Marquesans, the, 13 n.

Marriott, Charles, on the union of æsthetic sense with artistic instinct, 350 n.

Martial, 54.

Mass, dancing in ritual of, 43-45;

analogy of Pagan Mysteries to, 242.

Master of Arts, 69.

Materialism, 97, 230.

Materialistic, the term, 229.

Mathematical Renaissance, the, 69.

Mathematics, false ideas in, 94, 95;

and art, 138-40.

Matter, a fiction, 97, 229, 338;

and spirit, 229, 230.

Maupassant, Guy de, 311.

McDougall, William, accepts magic as origin of science, 195;

его критика «нравственного чувства», 274 прим.;

his study of civilisation, 298;

on birth-rate, 298 n.

Me and I, 147.

Mead, G. R., his article The Sacred Dance of Jesus, 44.

Measurement, Protagoras’s saying concerning, 3, 302.

Mechanics, beginning of science of, 74;

theories of, studied by Leonardo da Vinci, 120.

Medici, Catherine de’, brought Italian ballet to Paris, 57.

Medicine, and religion, 197 n., 203.

Medicine-man, the, 192-95.

Meh-ti, Chinese philosopher, 26, 27.

Men, of to-day and of former days, their comparative height, 142.

“Men of science,” 125, 126.

См. Ученый.

Meteorological Bureau, the, 203.

Metre, poetic, arising out of work, 62.

Michelangelo, 311.

Milan, the ballet in, 58.

Mill, J. S., on science and art, 70;

criticism of Bentham, 99.

Millet, J. F., 311.

Milton, John, his misuse of the word “eglantine,” 169;

Tolstoy’s opinion of, 311.

Mirandola, Pico della, 6 n.

Mittag-Lefler, Gustav, on mathematics, 139.

Möbius, Paul Julius, German psychologist, 109.

Moissac, Salome capital in, 49 n.

Montaigne, M. E. de, his style flexible and various, 148;

his quotations moulded to the pattern of his own mind, 152;

his style and that of Renan, 161;

the originality of his style found in vocabulary, 165.

Montesquieu, Baron de, his admiration for Shaftesbury, 268;

on the evils of civilisation, 297.

Moral, significance of the term, 246.

Moral maxims, 254, 258.

Moral reformer, the, 282.

“Moral sense,” the term as used by Hutcheson and Shaftesbury, 273, 274;

in McDougall’s Social Psychology, 274 n.

Moral teaching, 246 n.

Moral World-Order, the, a fiction, 100.

Morand, Paul, 170 n.

Moreau, Gustave, 167.

Morgagni, G. B., 300.

Morris, William, 350 n.

Moses, 253, 282.

Moszkowski, Alexander, his book on Einstein, 134 n.

Moralist, the critic of the art of life, 247.

Morality, Greek, an artistic balance of light and shade, 260;

a matter of taste, 263;

the æsthetic quality of, evidenced by language, 263, 264;

Shaftesbury’s views on, 264-66;

the influence of Shaftesbury on our modern, 266, 267;

imagination in, 272;

instinctive, according to Hutcheson, 274;

conception of, as an art, does not lack seriousness, 276;

the æsthetic view of, advocated by Catholics, 276 n.;

the æsthetic view of, repugnant to two classes of minds, 280-82;

indefiniteness of criterion of, an advantage, 282, 283;

justification of æsthetic conception of, 283, 284;

flexible and inflexible, illustrated by Jesuits and Pascal, 303-05;

art the reality of, 314;

æsthetic, of the Greeks, 316-18;

the antinomy between morals and, 319;

a restraint placed upon the possessive instinct, 338-40;

to be replaced by æsthetic instinct, 340, 341;

æsthetic instinct has the character of, 346.

Morals, dancing as, 61, 63, 66;

books on, 244;

defined, 245;

means custom, 245;

Plotinus’s conception of, 250-52;

as art, views of the Greeks and the Romans on, differ, 252;

Hebrews never conceived of the art of, 253;

as art, modern conception of, 253;

the modern feeling about, is Jewish and Roman, 253;

Kant’s idea of the art of, 253, 254;

formed by instinct, tradition and reason, 254-59;

Greek, have come to modern world through Shaftesbury, 267;

the æsthetic attitude possible for spectator of, 270;

art and æsthetics to be kept apart in, 314, 315, 325-28;

a species of the genus art, 316;

the antinomy between morality and, 319;

philosophers have failed to see that it is an art, 324.

Morisco, the, 49 n.

Mozart, Wolfgang, his interest in dancing, 62.

Müller-Freienfels, Richard, two kinds of æsthetic contemplation defined by, 331.

Multatuli, quoted on the source of curiosity, 112.

Music, and ceremony, 24-26;

and acting, and poetry, 36;

and singing, and dancing, their relation, 62;

a science or art, 68;

discovery of Pythagoras in, 74;

philosophy the noblest and best, 81 n.;

the most abstract, the most nearly mathematical of the arts, 135;

of style, 163, 164;

of philosophy and religion, 179.

Musical forms, evolved from similar dances, 62.

Musical instruments, 53, 54.

Musset, Alfred de, his Confession d’un Enfant du Siècle, 144.

Mysteries, the Eleusinian, 240-43.

Mystic, the genuine, 202;

Lao-tze, the earliest great, 204.

Mystics, the great, 236, 237.

Mysticism, the right use and the abuse of the word, 191;

and science, supposed difference between, 191-203;

what is meant by, 192;

and science, the harmony of, as revealed in human history, 203-08;

of the Greeks, 205-07, 240-43;

and science, the harmony of, as supported by personal experience of Havelock Ellis, 209-18;

and science, how they came to be considered out of harmony, 226-35;

and science, harmony of, summary of considerations confirming, 235, 236;

the key to much that is precious in art and Nature in, 237, 238;

is not science, 238-40;

æsthetics on same plane as, 330 n.

См. Религия.

Napoleon, described as unmitigated scoundrel by H. G. Wells, 8-10;

described as lyric artist by Élie Faure, 10.

Nature, and convention, Hippias made distinction between, 5;

comes through an atmosphere which is the emanation of supreme artists, 166;

the attitude of the poet in the face of, 168, 169;

the object of Leonardo da Vinci’s searchings, 114, 117, 125;

Man added to, 153;

communion with, 227;

in Shaftesbury’s system, 265;

and art, 312, 313.

Neo-Platonists, the, 237;

asceticism in, 249 n.

Nests, birds’, and dancing, 36 n.

Newell, W. W., 41 n.

Newman, Cardinal J. H., the music of his style, 164.

Newton, Sir Isaac, his wonderful imagination, 72;

his force of attraction a summatory fiction, 98;

represents in England new impetus to sciences, 180;

his attempt to study religion, 199-201;

religious, though a man of science, 208.

Niceforo, Alfred, his measurement of civilisation, 286, 293, 297;

tests of civilisation applied to France by, 295-97.

Nietzsche, Friedrich, 111;

conceived the art of life as a dance, 66, 67;

poetic quality of his philosophy, 84;

Vaihinger’s opinion of, 94;

on Leonardo da Vinci, 115;

the “divine malice” of, 155 n.;

laboured at his prose, 182;

demolished D. F. Strauss’s ideas, 215;

on learning to dance, 277;

his gospel of taste, 280;

on the Sophists, 302 n.;

on art as the great stimulus of life, 322, 323;

on the world as a spectacle, 334, 335;

движимый «мужским протестом», 336;

Jesus reproached by, 355.

Novelists, their reservoirs of knowledge, 171.

Noverre, and the ballet, 57.

Ockham, William of, 96.

Old Testament, the, and the conception of morality as an art, 276.

См. Библия, Бытие.

Omahas, the, 46.

Onions, C. T., 146 n.

Optimism, and pessimism, 90-92.

Origen, on the dancing of the stars, 43.

Orpheus, fable of, 61.

Osler, Sir William, 72.

Pacific, the, creation as conceived in, 2;

dancing in, 49.

См. Жители Лифу.

Pain, and pleasure, united, 278.

Painting, Chinese, 29, 32;

and sculpture, and the arts of design, 36;

of Leonardo da Vinci, 113, 114, 117, 118.

Palante, Georges, 337 n.

Paley, William, 267.

Palladius, 358.

Pantomime, and pantomimic dancing, 41, 42, 49, 56.

Papuans, the, are artistic, 351 n.

Parachute, constructed by Leonardo da Vinci, 119.

Paris, dancing in choir in, 44;

the ballet at, 57.

Parker, Professor E. H., his book China: Past and Present, 23 n.;

his view of Chinese vermin and dirt, 31, 32.

Parks, 351.

Parmelee, Maurice, his Criminology, 291 n.

Parsons, Professor, 142.

Pascal, Blaise, and the Jesuits, 303, 304.

Pater, W. H., the music of his style, 164.

Pattison, Pringle, his definition of mysticism, 192 n.

Paul, Vincent de, his moral attitude, 279, 280.

Paulhan, on morality, 284.

Pell, E. C., on decreasing birth-rate, 294 n.

Пипс, Сэмюэл, достижение его «Дневника», 176.

Perera, Galeotto, his picture of Chinese life, 19;

noticed absence of beggars in China, 31.

Pericles, 289.

Personality, 144.

Pessimism, and optimism, 90-92.

Petrie, Dr. W. M. Flinders, his attempt to measure civilisation by standard of sculpture, 307, 308.

Peyron, traveller, 50.

Phenomenalism, Protagoras the father of, 3.

Philosopher, the primitive, usually concluded that the universe was a work of art, 1;

a creative artist, 72, 73, 85;

curiosity the stimulus of, 104, 105.

Philosophy, of the Chinese, 32;

solution of the conflicts of, in art, 82, 83;

and art, close relationship of, 83-85;

and poetry, 83, 85;

is music, 179.

Physics, and fiction, 95.

Pictures, revelation of beauty in, 328, 329;

should be looked at in silence, 329 n.

Пиндар, называет Элладу «землей прекрасных танцев», 55.

Planck, Max, physicist, 136.

Plato, Protagoras calumniated by, 3;

made fun of Hippias, 4;

his description of a good education, 64;

a creative artist, 73;

his picture of Socrates, 75, 78;

the biographies of, 76, 77;

his irony, 78, 83;

a marvellous artist, 82;

a supreme artist in philosophy, 83;

a supreme dramatist, 83;

его «Идеи» и «мир как если бы», 88;

the myths, as fictions, hypotheses, and dogmas, 99;

represents the acme of literary prose speech, 155;

and Plotinus, 222;

on the Mysteries, 242;

asceticism, traced in, 249 n.;

on justice, 289;

his ideal of wise moderation addressed to an immoderate people, 292;

Sophists caricatured by, 302;

его «стражи», 306;

the ultrapuritanical attitude of, 317, 318 n.;

and Bovarism, 336;

on the value of sight, 345 n.;

wished to do away with imaginative literature, 353 n.;

and Jesus, 356.

Pleasure, a human creation, 24;

and pain, united, 278.

Pliny, 353 n.

Plotinus, 222;

Greek moral spirit reflected in, 249;

his doctrine of Beauty, 250, 251;

his idea that the moral life of the soul is a dance, 251, 252;

his simile of the sculptor, 276 n.;

founder of æsthetics in the philosophic sense, 329;

recognised three aspects of the Absolute, 330;

insisted on contemplation, 330 n., 331;

of the participating contemplative temperament, 332.

Poet, the type of all thinkers, 102;

Landor on, 154;

his attitude in the presence of Nature, 168, 169;

the great, does not describe Nature minutely, but uses his knowledge of, 170, 171.

Poetry, Chinese, 21, 22, 29, 32;

and music, and acting, 36;

and dancing, 56;

and philosophy, 83, 85;

and science, no sharp boundary between, 102, 128, 129;

Landor on, 154;

a making, 312;

Aristotle’s view of, 318;

does not exist for morals, 318.

Polka, origin of the, 60.

Polynesia, dancing in, 49.

Polynesian islanders, 255.

Pontiff, the Bridge-Builder, 2.

Pope, Alexander, influence of Shaftesbury on, 266.

Porphyry, 167.

Possessive impulses, 306, 307, 341-43.

Possessive instinct, restraints placed upon, 338-40;

in Gaultier and Russell, 344;

excesses of, 351.

Pottery, of the Chinese, 32, 33;

of the Greeks and the Minoan predecessors of the Greeks, 32.

Pound, Miss, on the origin of the ballad, 62 n.

Pragmatism, 323.

Pragmatists, the, 93, 231, 232.

Precious stones, attitude of the poet toward, 169.

Preposition, the post-habited, 146, 147, 162.

Prettiness, and beauty, 315 n.

Priest, cultivated science in form of magic, 195;

and doctor, originally one, 197 n., 203.

Prodicus, 302;

the Great Moralist, 6 n.

Progress, 143, 149;

on meaning of, 287.

Prophecy, 204.

Prophet, meaning of the word, 203, 204.

Propriety, 24-26.

Protagoras, significance of his ideas, in conception of life as an art, 3, 4;

his interest for us to-day, 3;

his dictum “Man is the measure of all things,” 3, 302;

concerned to regard living as an art, 248.

Proust, Marcel, 172, 184;

his art, 170 n., 186, 187;

his A la Recherche du Temps Perdu, 171, 187;

admiration of, for Ruskin, 316 n.

Puberty, questions arising at time of, 105-07.

Puritanism, reaction against, represented by Hutcheson, 271.

Pygmalionism, 353 n.

Pygmies, the dancing of the, 51.

Pythagoras, represents the beginning of science, 73, 74;

fundamentally an artist, 74, 75;

founded religious brotherhoods, 206, 207.

Quatelet, on social questions, 288.

Quoting, by writers, 152.

Rabbitism, 294.

Rabelais, François, 148, 165, 358.

Race mixture, 308.

Raleigh, Sir Walter, his literary style, 143.

Ramedjenis, the, street dancers, 52.

Rank, Dr. Otto, his essay on the artist, 111.

Realism, 83.

Realists, 70, 341 n.

Reality, a flux of happening, 101.

Reason, helps to mould morals, 255-59.

Reid, Thomas, influenced by Hutcheson, 275.

Relativism, Protagoras the father of, 3.

Religion, as the desire for the salvation of the soul, 8;

origin of dance in, 38;

connection of dance with, among primitive men, 39;

in music, 179;

and science, supposed difference between, 191-203;

its quintessential core, 191;

control of Nature through oneness with Nature, at the heart of, 194;

relation of, to science and magic, 194-96;

the man of, studying science, 202;

and science, the harmony of, as revealed in human history, 203-08;

and science, the harmony of, as supported by personal experience of Havelock Ellis, 209-18;

asceticism has nothing to do with normal, 222;

and science, how they came to be considered out of harmony, 226-35;

the burden of the traditions of, 227;

and church, not the same, 228 n.;

the instinct of, 234;

and science, harmony of, summary of considerations confirming, 235, 236;

is not science, 238-40;

an act, 243;

a restraint placed upon the possessive instinct, 339, 340;

to be replaced by æsthetic instinct, 340, 341.

См. Мистицизм.

Religions, in every case originally saltatory, 40.

Religious dances, ecstatic and pantomimic, 41;

survivals of, 42;

in Christianity, 42-45.

Renan, J. E., his style, 161;

his Life of Jesus, 212;

on truth, 301.

“Resident in Peking, A,” author of China as it Really Is, 21, 22.

Revelation, Book of, 153.

Revival, the, 241, 243.

Rhythm, marks all the physical and spiritual manifestations of life, 37;

in work, 61.

Rickert, H., his twofold division of Reality, 325, 326.

Ridgeway, William, his theory of origin of tragedy, 56.

Робертс, Морли, иронизирует над некоторыми «людьми науки», 126 прим.

Robinson, Dr. Louis, on apes and dancing, 46;

on the influence of the drum, 63.

Rodó, his conceptions those of Shaftesbury, 269.

Roman law, 98.

Romans, the ancient, dancing and war allied among, 63, 64;

did not believe that living is an art, 252.

Romantic spirit, the, 206.

Romantics, the, 149, 156.

Rome, ancient, dancing in, 49;

genius built upon basis of slavery in, 292.

Rops, Félicien, 167.

Ross, Robert, 150.

Rouen Cathedral, Salome on portal of, 49 n.

Rousseau, J. J., Napoleon before grave of, 11;

felt his lapses, 79;

grace of, 149;

love of Nature developed through, 238;

and Shaftesbury, 268, 269;

decided against civilisation, 298.

Roussillon, 44.

Rule, rigid subserviency to, mark of decadence, 173;

much lost by rigid adherence to, in style, 175.

Rules for Compositors and Readers, on spelling, Oxford University Press, 174 n.

Ruskin, John, 316;

a God-intoxicated man, 316 n.

Russell, Bertrand, on the Chinese, 23;

on mathematics, 139, 140;

on the creative and the possessive impulses, 305-07, 341, 342;

system of, compared with Gaultier’s, 342, 343.

Russia, the genius of, compared with the temper of the population, 293.

Russian ballet, the, 58-60.

Rutherford, Sir Ernest, on the atomic constitution, 97 n.

St. Augustine, 79, 202;

on the art of living well, 252.

St. Basil, on the dancing of the angels, 43.

Св. Бонавентура, считается автором «Пути спасения», 43.

St. Denis, Ruth, 60.

St. Theresa, and Darwin, 198, 199.

Salome, the dance of, 49.

Salt, intellectual and moral suggestion of the word, 263, 263 n., 264.

Salt, Mr., 169.

Salter, W. M., his Nietzsche the Thinker, 335 n.

Samoa, sacred position of carpenter in, 2.

Sand, George, on civilisation, 300.

Santayana, Professor George, on union of æsthetic sense with artistic instinct, 350 n.

Schelling, F. W. J. von, 90;

on philosophy and poetry, 83.

Schiller, Friedrich von, influence on Vaihinger, 89;

and the æsthetic conception of morals, 275.

Schleiermacher, Friedrich, 90.

Schmidt, Dr. Raymund, 93 n.

Schopenhauer, Arthur, 330 n.;

his influence on Vaihinger, 90;

as regards his quotations, 152;

morals based on sympathy, according to, 272;

on the uselessness of art, 319;

on the man of genius, 320;

on sociological function of art, 323;

on the proper way of looking at pictures, 329 n.;

on the world as a spectacle, 334.

Science, spirit of modern, in Protagoras, 4;

as the search for the reason of things, 8;

and poetry, no sharp boundary between, 102, 128, 129;

impulse to, and the sexual instinct, 112;

intuition and invention needed by, 137;

and mysticism, supposed difference between, 191-203;

what is meant by, 192;

and art, no distinction between, in classic times, 68;

and art, distinction between, in modern times, 68-70;

definitions of, 70, 71;

is of the nature of art, 71;

the imaginative application of, 72;

Pythagoras represents the beginning of, 74;

control of Nature through oneness with Nature, at the heart of, 194;

relation of, to magic and religion, 194-96;

and pseudo-science, 199-202;

and mysticism, the harmony of, as revealed in human history, 203-08;

and mysticism, the harmony of, as supported by personal experience of Havelock Ellis, 209-18;

and mysticism, how they came to be considered out of harmony, 226-35;

traditions of, 228;

the instinct of, 234;

and mysticism, harmony of, summary of considerations confirming, 235, 236;

is not religion, 238-40;

not pursued for useful ends, 322;

for science’s sake, 347.

Sciences, and arts, 68-70;

biological and social, fiction in, 99;

mathematical impetus given to, toward end of seventeenth century, 180;

biological, awakening of, 181;

mathematical, renaissance of, 181.