CONTENTS INTRODUCTION

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I. Historical documents serve only as a clue to reconstruct the visible individual1
II. The outer man is only a clue to study the inner, invisible man5
III. The state and the actions of the inner and invisible man have their causes in certain general
ways of thought and feeling
8
Chief causes of thought and feeling. Their historical effects9
The three primordial forces.—Race13
Surroundings14
Epoch16
VI. History is a mechanical and psychological problem. Within certain limits man can foretell19
Primordial Causes20
VII. Law of formation of a group. Examples and indications23
VIII. General problem and future of history. Psychological method. Value of literature.
Purpose in writing this book
24

BOOK I.—THE SOURCE

CHAPTER FIRST
The Saxons

SECTION I.—The Coast of the North Sea31
SECTION II.—The Northern Barbarians34
SECTION III.—Saxon Ideas46
SECTION IV.—Saxon Heroes46
SECTION V.—Pagan Poems53
SECTION VI.—Christian Poems56
SECTION VII.—Primitive Saxon Authors63
SECTION VIII.—Virility of the Saxon Race71

CHAPTER SECOND
The Normans

SECTION I.—The Feudal Man73
SECTION II.—Normans and Saxons Contrasted73
SECTION III.—French Forms of Thought80
SECTION IV.—The Normans in England87
SECTION V.—The English Tongue—Early English Literary Impulses91
SECTION VI.—Feudal Civilization103
SECTION VII.—Persistence of Saxon Ideas108
SECTION VIII.—The English Constitution113
SECTION IX.—Piers Plowman and Wyclif119

CHAPTER THIRD
The New Tongue

SECTION I.—The First Great Poet126
SECTION II.—The Decline of the Middle Ages127
SECTION III.—The Poetry of Chaucer128
SECTION IV.—Characteristics of the Canterbury Tales143
SECTION V.—The Art of Chaucer150
SECTION VI.—Scholastic Philosophy158

BOOK II.—THE RENAISSANCE

CHAPTER FIRST
The Pagan Renaissance

PART I.—Manners of the Time

SECTION I.—Ideas of the Middle Ages169
SECTION II.—Growth of New Ideas171
SECTION III.—Popular Festivals178
SECTION IV.—Influence of Classic Literature180

PART II.—Poetry

SECTION I.—Renaissance of Saxon Genius185
SECTION II.—The Earl of Surrey185
SECTION III.—Surrey's Style190
SECTION IV.—Development of Artistic Ideas192
SECTION V.—Wherein Lies the Strength of the Poetry of this Period204
SECTION VI—Edmund Spenser214
SECTION VII.—Spenser in his Relation to the Renaissance221

PART III.—Prose.

SECTION I.—The Decay of Poetry237
SECTION II.—The Intellectual Level of the Renaissance243
SECTION III.—Robert Burton248
SECTION IV.—Sir Thomas Browne252
SECTION V.—Francis Bacon255

CHAPTER SECOND
The Theatre

SECTION I.—The Public and the Stage264
SECTION II.—Manners of the Sixteenth Century267
SECTION III.—Some Aspects of the English Mind274
SECTION IV.—The Poets of the Period279
SECTION V.—Formation of the Drama291
SECTION VI.—Furious Passions—Exaggerated Characters296
SECTION VII.—Female Characters305

CHAPTER THIRD
Ben Jonson

SECTION I.—The Man—His Life318
SECTION II.—His Freedom and Precision of Style321
SECTION III.—The Dramas Catiline and Sejanus327
SECTION IV.—Comedies333
SECTION V.—Limits of Jonson's Talent—His Smaller Poems—His Masques345
SECTION VI.—General Idea of Shakespeare350

CHAPTER FOURTH
Shakespeare

SECTION I.—Life and Character of Shakespeare354
SECTION II.—Shakespeare's Style—Copiousness—Excesses366
SECTION III.—Shakespeare's Language And Manners371
SECTION IV.—Dramatis PersonÆ377
SECTION V.—Men of Wit382
SECTION VI.—Shakespeare's Women386
SECTION VII.—Types of Villains391
SECTION VIII.—Principal Characters393
SECTION IX.—Characteristics of Shakespeare's Genius407

INDEX

HIPPOLYTE ADOLPHE PAINE
Photogravure from an engraving.

This picture shows the eminent French critic as he appeared thirty years ago. At that period his fame as a literary savant was spreading to the four quarters of the world, and he was lecturing daily to the crowds of students who had flocked to Paris to study literature under his guidance. In personal appearance he was unlike the traditional scholar, but resembled, in his quick, nervous energy and plain business-like ways, a keen-witted man of affairs. He was simple in dress, as the picture shows, and it is a noteworthy fact that the honors he received never caused him to lose his self-poise, or to cease his severe studies, which he carried on with diligence to the very day of his death. His face denotes the cool, critical, and well-balanced scholar, with the initiative to enter new fields of thought, and the will-power to impress his opinions upon others.


                                                                                                                                                                                                                                                                                                           

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