“Cords of Vanity, The,” 237. Cowperwood, in “The Financier,” 86-88, 105-111. “Cream of the Jest, The,” 231-237. Crime, in Hawthorne, 34; in “Elsie Venner,” 110 _n._; in Dreiser, 115-119. Criminal responsibility, 110 _n._, 116, 118, 119. Criticism, in America, 3-5. “Crystal cup,” 247. Curel, François de, 156 _n._ “Custom of the Country, The,” 56. Cynicism, in recent novels, 257. “Cytherea,” 254, 255. “Daisy Miller,” 50. “Dance before the Mirror,” 156 _n._ “Dark Laughter,” 196-199. Darwinism, and Theodore Dreiser, 84, 85, 88, 93, 95 _n._ Day-dreaming, 156. Decadence, 186 _n._ Degeneracy, 186 _n._ Deliverance, the problem of, 185. Dell, Floyd, 22, 254. Dickens, Charles, 147. Dickinson, Emily, a Puritan type of mind, 12. Dimmesdale, in “The Scarlet Letter,” 37-45. Dom Manuel, in “Figures of Earth,” 209-212. “Domnei,” 212-215. Donatello, in “The Marble Faun,” 38. Dostoievski, F. M., 23. Double personality, 156. Dreiser (or Dresser), Paul, 72. Dreiser, Theodore, his arraignment of American culture, 17, 18; absorbed by the problems of Puritan inhibitions, 22; and Freudism, 31; the historian of a disillusioned America, 71; views social studies from an individual angle, 72; his career, 72, 73; his books, 73, 74; his realism, 74, 75; his enthusiasm for facts, 75-77; the contents of his novels borrowed from the news column, 77-80; his use of term _bio-chemistry_, 78; does not comment in his novels, 80; his essays, 81; his philosophy, 81-83; translates psychology in terms of bio-chemistry, 83, 84, 95, 106, 109-118, 123; his evolutionism, 84, 85; his supermen, 85, 93-95, 105, 111; his blow to American idealism, 85, 86; his illustration of the battle of life, 86-88; his love for America, 88-93; his “A Hoosier Holiday,” 88-93, 95-97; his hero worship, 94; his treatment of sexual problems, 95; his Darwinian Philosophy, 95 _n._; his hymn to the Vital Force, 95-97; his belief in compensation (equation), 97, 98; his pessimism and optimism, 98, 99; suggests two solutions of the ethical problem, 99; on spiritual progress, 100; his liking for the Dutch painters, 101; his definition of art, 101; his “Sister Carrie,” 102-104; his “Jennie Gerhardt,” 104, 105; his “The Financier,” 105-108; his “The Titan,” 108-111; his “The Genius,” 111-115, 195; his “An American Tragedy,” 115-122; his theory of criminal responsibility, 116-119; leaves little hope of reformation for the fallen, 123; his biological fatalism, 124; his decalogue, 124; his ethics, 125, 126; goes too far in starving the human emotions, 126, 127; Walt Whitman’s influence on, 154;