| Byron's influence in Europe | 203 | | In England | 204 | | Criticism not concerned with Byron's private life | 208 | | Function of synthetic criticism | 210 | | Byron has the political quality of Milton and Shakespeare | 212 | | Contrasted with Shelley in this respect | 213 | | Peculiarity of the revolutionary view of nature | 218 | | Revolutionary sentimentalism | 220 | | And revolutionary commonplace in Byron | 222 | | Byron's reasonableness | 223 | | Size and difficulties of his subject | 224 | | His mastery of it | 224 | | The reflection of Danton in Byron | 230 | | The reactionary influence upon him | 232 | | Origin of his apparent cynicism | 234 | | His want of positive knowledge | 235 | | Æsthetic and emotional relations to intellectual positivity | 236 | | Significance of his dramatic predilections | 240 | | His idea of nature less hurtful in art than in politics | 241 | | Its influence upon his views of duty and domestic sentiment | 242 | | His public career better than one side of his creed | 245 | | Absence of true subjective melancholy from his nature | 246 | | His ethical poverty | 249 | | Conclusion | 250 |
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