_

F. N. S.
_University of Michigan
December 1, 1910._

CONTENTS.

PAGE
Introduction 9
I. PRINCIPLES OF ART 19
a. Epic, Drama, and Novel 19
b. Imitation vs. Art 21
c. Nature the Creation of Thought 22
d. The 'Outward' aspect of Nature 23
e. Conquest of Nature by Art 24
f. The Artist as Idealizer 26
g. The Epic 27
h. Tragedy as Purifier of the Passions 29
i. Tragedy the Elevation of Life 33
j. Conditions Favorable to Tragedy 34
II. THE NOVEL AN INFERIOR FORM OF ART 35
a. Beginnings of the Novel 35
b. Characteristics of the _Spectator_ 36
c. The Modern Novel a Reflection of Ordinary Life 38
d. Naturalism vs. Idealism 43
e. Tragedy and the Novel 44
f. The Epic and the Novel 47
g. Poetry and Prose 49
h. The Novel an Incomplete Presentation of Life 52
i. Prudence the Novelist's Highest Morality 54
j. Evil Effects of Novel-reading 56
III. TRUE FUNCTION OF THE NOVEL 60
a. A Widener of Experience 60
b. An Expander of Sympathies 63
c. A Creator of Public Sentiment 69
d. A Leveller of Intellects 69

APPENDIX.

a. An Appreciation of Green's Essay 72
b. Hegel on the Novel 77

INTRODUCTION

Thomas Hill Green was born in Birkin, Yorkshire, April 7, 1836. His
early education was acquired first at home under his father, the rector
of Birkin, then at Rugby, where he was sent at the age of fourteen. In
1855 he entered Balliol College, Oxford, and came under the influence of
Jowett, afterwards famous as Master of Balli