A Note on This Edition |
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xiii | |
Introduction |
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xv | |
I. ARCHITECTURE, PAINTING, LITERATURE |
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Proust: The Eighteenth-Century Method |
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5 | (3) |
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8 | (3) |
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11 | (2) |
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(Proust and Best-Sellers) |
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13 | (2) |
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15 | (3) |
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(Balzac and Social History) |
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18 | (2) |
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(Aristocracy and Literature) |
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20 | (3) |
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23 | (3) |
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26 | (2) |
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The Cry for a Messiah in the Arts |
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28 | (4) |
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The Modern Spirit and a Family Party |
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32 | (6) |
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Marie Laurencin: A Woman of Genius |
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38 | (2) |
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40 | (6) |
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46 | (4) |
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The Portraits of Augustus John |
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50 | (4) |
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54 | (5) |
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59 | (4) |
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63 | (3) |
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66 | (4) |
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70 | (3) |
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73 | (2) |
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75 | (2) |
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77 | (3) |
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80 | (4) |
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84 | (2) |
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86 | (4) |
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90 | (3) |
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93 | (2) |
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95 | (3) |
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98 | (3) |
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The Author of Eminent Victorians |
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101 | (3) |
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104 | (3) |
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107 | (2) |
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109 | (3) |
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112 | (3) |
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115 | (4) |
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119 | (7) |
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126 | (13) |
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139 | (7) |
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The Importance of the Comic Genius |
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146 | (4) |
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A Ballet in the Modernist Manner |
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150 | (3) |
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Fashions in Visual Imagery |
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153 | (4) |
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157 | (4) |
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161 | (5) |
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166 | (4) |
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What, Exactly, Is Modern? |
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170 | (4) |
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Where Are the Movies Moving? |
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174 | (3) |
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The Pleasant and the Unpleasant |
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177 | (3) |
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180 | (4) |
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184 | (6) |
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190 | (9) |
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199 | (6) |
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205 | (4) |
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209 | (6) |
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215 | (5) |
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The Mystery of the Theater |
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220 | (7) |
II. Music |
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227 | (2) |
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Busoni, Dr. Burney, and Others |
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229 | (1) |
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The Interpreter and the Creator |
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230 | (2) |
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232 | (1) |
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Instruction with Pleasure |
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233 | (2) |
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235 | (2) |
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Light Opera and the New Stravinsky |
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237 | (1) |
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238 | (2) |
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240 | (2) |
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242 | (1) |
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243 | (2) |
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245 | (2) |
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247 | (2) |
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249 | (3) |
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A Problem of Musical History |
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252 | (1) |
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253 | (2) |
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255 | (2) |
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257 | (2) |
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Mr. Lawrence's Marchioness |
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259 | (2) |
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Supplementing the Concerts |
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261 | (2) |
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263 | (2) |
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265 | (2) |
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Popular Tunes---Past and Present |
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267 | (2) |
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Let Us Now Praise Famous Men |
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269 | (3) |
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272 | (2) |
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The Salzburg Festival---I |
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274 | (2) |
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The Salzburg Festival---II |
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276 | (2) |
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The Salzburg Festival---III |
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278 | (2) |
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280 | (2) |
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282 | (2) |
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284 | (2) |
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Reflections in the Promenade |
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286 | (2) |
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288 | (2) |
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Reflections in the Concert Room |
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290 | (2) |
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292 | (2) |
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294 | (1) |
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295 | (2) |
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An Orlando Gibbons Concert |
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297 | (2) |
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299 | (2) |
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301 | (2) |
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303 | (2) |
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305 | (2) |
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Delius and the Nature-Emotion |
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307 | (2) |
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309 | (2) |
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Music in the Encyclopaedia |
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311 | (2) |
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313 | (2) |
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Handel, Polly, and Ourselves |
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315 | (1) |
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316 | (2) |
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Cherubini---Emotion and Form |
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318 | (2) |
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Madrigals and Program Music |
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320 | (1) |
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321 | (2) |
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323 | (2) |
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Notes on a Pianist and on Pianos |
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325 | (2) |
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327 | (2) |
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329 | (3) |
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332 | (2) |
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334 | (2) |
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What Are the Wild Waves Saying? |
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336 | (1) |
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337 | (2) |
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Opera, Marionettes, and Battistini |
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339 | (2) |
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341 | (2) |
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Music and the Interpretative Medium |
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343 | (2) |
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345 | (6) |
III. HISTORY, POLITICS, SOCIAL CRITICISM |
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351 | (3) |
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354 | (3) |
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357 | (4) |
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361 | (3) |
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364 | (5) |
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369 | (3) |
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372 | (3) |
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375 | (4) |
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By Their Speech Ye Shall Know Them |
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379 | (4) |
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The Importance of Being Nordic |
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383 | (5) |
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388 | (3) |
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The Psychology of Suggestion |
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391 | (3) |
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394 | (5) |
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399 | (11) |
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410 | (9) |
IV. TRAVEL |
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419 | (2) |
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421 | (5) |
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426 | (4) |
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430 | (6) |
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436 | (5) |
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441 | (2) |
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443 | (5) |
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448 | (2) |
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450 | (1) |
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451 | (2) |
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453 | (6) |
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459 | (6) |
Appendix |
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465 | (2) |
Index |
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467 | |