The New Era

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Weber, his fascinator and first inspirer.

"Der Freischuetz" and "Euryanthe" prototypes of his operas.

Their supernatural, mythical, and romantic elements.

What he owed to his predecessors acknowledged in his essay on "The Music of the Future" (1860).

Marriage and early vicissitudes.

"Rienzi," "The Novice of Palermo," and "The Flying Dutchman".

Writes stories and essays for musical publications.

After many disappointments wins success at Dresden.

"Tannhaeuser" and "Lohengrin".

Compromises himself in Revolution of 1849 and has to seek safety in Switzerland.

Here he conceives and partly writes the "Nibelung Tetralogy".

Discouragements at London and at Paris.

"Siegfried" and "Tristan and Isolde".

Finds a patron in Ludwig II. of Bavaria.

Nibelung Festival at Bayreuth.

"Parsifal" appears; death of Wagner at Vienna (1882).

Beethoven, Schubert, and Chopin.

Other eminent composers and pianists.

Liszt as a contributor to current of modern music.

Berlioz, Saint-Saens, Tchaikovsky, Dvorak, Strauss, and Weber.

"The Music of the Future" the music of the present.

JOHN RUSKIN.

MODERN ART.

BY G. MERCER ADAM.

Passionate and luminous exponent of Nature's beauties.

His high if somewhat quixotic ideal of life.

Stimulating writings in ethics, education, and political economy.

Frederic Harrison on Ruskin's stirring thoughts and melodious speech.

Birth and youth-time; Collingwood's "Life" and his own "Praeterita".

Defence of Turner and what it grew into.

Architectural writings, lectures, and early publications.

Interest in Pre-Raphaelitism and its disciples.

Growing fame; with admiring friends and correspondents.

On the public platform; personal appearance of the man.

Economic and socialistic vagaries.

F. Harrison on "Ruskin as Prophet" and teacher.

Inspiring lay sermons and minor writings.

Reformer and would-be regenerator of modern society.

Attitude towards industrial problems of his time.

Founds the communal "Guild of St. George".

Philanthropies, and lecturings in "Working Men's College".

Death and epoch-making influence, in modern art.

HERBERT SPENCER.

THE EVOLUTIONARY PHILOSOPHY.

BY MAYO W. HAZELTINE.

Constructs a philosophical system in harmony with the theory of evolution.

Birth, parentage, and early career.

Scheme of his system of Synthetic Philosophy.

His "Facts and Comments;" views on party government, patriotism, and style.

His religious attitude that of an agnostic.

The doctrine of the Unknowable and the knowable.

"First Principles;" progress of evolution in life, mind, society, and morality.

The relations of matter, motion, and force.

"Principles of Biology;" the data of; the development hypothesis.

The evolutionary hypothesis _versus_ the special creation hypothesis; arguments.

Causes and interpretation of the evolution phenomena.

Development as displayed in the structures and functions of individual organisms.

"Principles of Psychology;" the evolution of mind and analysis of mental states.

"Principles of Sociology;" the adaptation of human nature to the social state.

Evolution of governments, political and ecclesiastical; industrial organizations.

Qualifications; Nature's plan an advance, and again a retrogression.

Social evolution; equilibriums between constitution and conditions.

Assisted by others in the collection, but not the systemization, of his illustrative material.

"Principles of Ethics;" natural basis for; secularization of morals.

General inductions; his "Social Statics".

Relations of Mr. Spencer and Mr. Darwin to the thought of the Nineteenth Century.

CHARLES DARWIN.

HIS PLACE IN MODERN SCIENCE.

BY MAYO W. HAZELTINE.

The Darwinian hypothesis a rational and widely accepted explanation of the genesis of organic life on the earth.

Darwin; birth, parentage, and education.

Naturalist on the voyage of the "Beagle".

His work on "Coral Reefs" and the "Geology of South America".

Observations and experiments on the transmutation of species.

Contemporaneous work on the same lines by Alfred R. Wallace.

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