Inhibition, the danger in, vii, 280; the tortures of, described, 191; the problem of sexual, 191; effects caused by, prevalent among Puritan writers of New England, 223; in novels of Willa Cather, 238-248; in novels of Zona Gale, 249, 250; in novels of Floyd Dell, 254. Inness, George, 18. Instinct, as opposed to the social code, 124-127, 130, 136. Intelligence test, the, 25. Irene Olenska, in “The Age of Innocence,” 57. Irony and humor, 224, 225. Jaloux, Edmond, 246. James, Henry, 22; master of the psychological novel, 4, 47; needed the European background, 47, 48; his indictment of America, 48-50; his first novels, 50; his women, 50-52; his novels a contribution to the study of inhibitions, 52; in æsthetics, 53; uses _appreciation_, 53; invented the _monologue intérieur_, 53; composed from the center outward, 53; as an artist, 54. James, William, 4, 17, 149; his psychological theories, 26, 27, 186; his attempt to reconcile idealism with utilitarianism, 258. “Java Head,” 254, 255. Jazz, 197 _n._ Jeff Durgin, in “The Landlord at Lion’s Head,” 66, 67. Jennicot, in “The High Place,” 228-230. “Jennie Gerhardt,” 73, 104, 105. John Webster, in “Many Marriages,” 192-196. Joyce, James, 22, 23, 27, 53, 282. “Jurgen,” 208, 209, 215-220, 223, 224. Kennaston, in “The Cream of the Jest,” 231-237. Kennicott, in “Main Street,” 136-144. “Kora in Hell,” 277 _n._ “Landlord at Lion’s Head, The,” 66, 67. Lawrence, D. H., 23, 36, 282. Lewis, Sinclair, 22; his career, 128; his “Free Air,” 128; his “Mantrap,” 128; his “Our Mr. Wren,” 129, 130; his works inspired by feeling of conflict between social and individual ethics, 130; his “Main Street,” 135-144; his “Babbitt,” 144-148; his “Arrowsmith,” 148-150; as an artist, 149, 150; his language, 150; his “Elmer Gantry,” 150-153. Lily Bart, in “The House of Mirth,” 58, 59. “Linda Condon,” 254, 255. Lodge, Henry Cabot, 186 _n._ London, Jack, and “the movies,” 4; his “Martin Eden,” 167; (mentioned, 110). “Lost Lady, A,” 239. Love, as bio-chemistry, 111, 113, 117. McAlmon, Robert, his career, 262; his “Village,” 262-269; his “The Portrait of a Generation,” 269. “Madonna of the Future, The,” 150. “Main Street,” 135-144. Mallarmé, Stephane, 166 _n._ “Mantrap,” 128. “Many Marriages,” 191-196. “Marble Faun, The,” paganism in, 34; the character of Hilda in, 34, 38; amorality in, 35; the character of Donatello in, 38; symbolism, 45, 46. “Marching Men,” 158, 159, 171-180. Marks, Percy, his “The Plastic Age,” 270 _n._ Martin, Doctor, psychologist, 28.