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manner in architecture, 119. The si- | Base, of a column, 462.
tuation of a great house ought to be Basso-relievo, 460.
lofty, 166. A playhouse or a music-
room susceptible of much ornament,
167. What emotions can be raised
by architecture, 443. Its emotions
compared with those of gardening, ib.
Every building ought to have an ex-
pression suited to its destination, 444.
457. Simplicity ought to be the go-
verning taste, 443. Regularity to be
studied, 445. 454. External form of
dwelling-houses, 452, 453. Divisions
within, 453. 458, 459. A palace ought
to be regular, but in a small house
convenience ought to be preferred,
452, 453. A dwelling-house ought to
be suited to the climate, 454. Con-
gruity ought to be studied, 457. Ar-
chitecture governed by principles that
produce opposite effects, 459, 460.
Different ornaments employed in it,
459, 460. Witticisms in architecture,
464. Allegorical or emblematical or-
numents, ib. Architecture inspires a
taste for neatness and regularity, 465.
Ariosto, censured, 160. 430.

ristæus, the episode of Aristaus in the
Georgics censured, 323.
Aristotle, censured, 477, note..
Army, defined, 488.

Arrangement, the best arrangement of
words is to place them if possible in
an increasing series, 252. Arrange-
ment of members in a period, ib. Of
periods in a discourse, 253. Ambi-
guity from wrong arrangement, 270.
273. Arrangement natural and in-
verted, 280, 281.

Articulate sounds, how far agreeable,
248. 250.

Artificial mount, 448.
Arts. See Fine Arts.
Ascent, pleasant, but descent not pain-
ful, 114.

Athalie, of Racine censured, 231.
Attention, defined, 484. Impression
made by objects depends on the degree
of attention, i. Attention not always
voluntary, 485.

Attractive passions, 210.
Attractive objects, 97.

Attractive signs of passion, 210.
Attributes, transferred by a figure of
speech from one subject to another,
365, &c.

Avarice, defined, 29.
Avenue, to a house, 448.
A version, defined, 65. 195.

Bacchius, 324.

Bajazet, of Racine censured, 241.
Barren scene, defined, 431.

Batrachomuomachia, censured, 179
Beauty, ch. iii. Intrinsic and relative,
103. 449. Beauty of simplicity, 104.
of figure, ib., of the circle, 105. of the
square, ib., of a regular polygon, 106.
of a parallelogram, ib., of an equila-
teral triangle, ib. Whether beauty is
a primary or secondary quality of ob-
jects, 107. Beauty distinguished from
grandeur, 110. Beauty of natural
colors, 161. Beauty distinguished
from congruity, 166. Consummate
beauty seldom produces a constant
lover, 199. Wherein consists the
beauty of the human visage, 204.
Beauty proper and figurative, 482.
Behavior, gross and refined, 62.
Belief, of the reality of external objects,
51. Enforced by a lively narrative,
or a good historical painting, 56, 57.
Influenced by passion, 87. 361. In-
fluenced by propensity, 88. Influ-
enced by affection, ib.

Benevolence operates in conjunction
with self-love to make us happy, 97.
Benevolence inspired by gardening,
451.

Berkeley, censured, 477, note.
Blank verse, 298. 315. Its aptitude for
inversion, 317. Its melody, ib. How
far proper in tragedy, 428.
Body, defined, 475.

Boileau, censured, 360. 417.
Bombast, 124. Bombast in action, 126.
Bossu, censured, 432, note.
Burlesque, machinery does well in a
burlesque poem, 57. Burlesque dis-
tinguished into two kinds, 179.
Business, men of middle age best quali-
fied for it, 152.

Cadence, 287. 292.

Capital, of a column, 463.
Careless husband, its double plot well
contrived, 426.

Cascade, 129.

Cause, resembling causes may produce
effects that have no resemblance; and
causes that have no resemblance
may produce resembling effects, 283
Cause, defined, 488.
Chance, the mind revolts against misfor

tunes that happen by chance, 418.
Character, to draw a character is the

master-stroke of description, 397, 398.
Characteristics, of Shaftsbury criticised,
167, note.

Children, love to them accounted for, 43.
A child can discover a passion from
its external signs, 211. Hides none
of its emotions, 215

Chinesc, gardens, 450. Wonder and Complexion, what colour of dress is the
most suitable to different complexions,
148.

surprise studied in them, 451.

Choreus, 323.
Choriambus, 324.

Chorus, an essential part of the Grecian
tragedy, 433.

Church, what ought to be its form and
situation, 458.

Cicero censured, 280. 287. 290.
Cid, of Corneille censured, 221. 233.
Cinna, of Corneille censured, 168. 219.
232.

Circle, its beauty, 105.

Circumstances, in a period, where they
should be placed, 273. 275.
Class, all living creatures distributed
into classes, 470, 471.
Climax, in sense, 116. 220. 278. In
sound, 253. When these are joined,
the sentence is delightful, 286.
Cophores, of Eschylus censured, 203.
Coexistent emotions and passions,67,&c.
Colonnade, where proper, 454.
Color, gold and silver esteemed for their
beautiful colors, 104. A secondary
quality, 59. Natural colors, 161. Co-
loring of the human face, exquisite, ib.
Columns, every column ought to have a
base, 94. The base ought to be
square, 95. Columns admit different
proportions, 456-158. What emo-
tions they raise, 458. Column more
beautiful than a pilaster, 462.
Its
form, ib. Five orders of columns, ib.
Capital of the Corinthian order cen-
sured, 463.
Comedy, double plot in a comedy, 425,
426. Modern manners do best in
comedy, 420. Immorality of English
comedy, 36.

Comet, motion of the comets and planets
compared with respect to beauty, 128.
Commencement, of a work ought to be
modest and simple, 39.

Common nature, in every species of
animals, 60. 467. We have a convic-
tion that this common nature is inva-
riable, 468. Also that it is perfect or
right, 60. 468.

Common sense, 467. 473.
Communication of passion to related
objects. See Passion.
Communication of qualities to related
objects. See Propensity.
Comparison, 140, &c. ch. xix. In the
early composition of all nations, com-
parisons are carried beyond proper
bounds, 325. Comparisons that re-
solve into a play of words, 343.
Complex emotion, 68, &c.

Complex object, its power to generate
passion, 45. 122.
Complex perception, 479.

Conception, defined, 475.

Concord, or harmony in objects of
sight, 69.

Concordant sounds, defined, 67.
Congreve, censured, 37. 180. 207. note.
428.

Congruity and propriety, chap. x. A
secondary relation, 165, note. Con-
gruity distinguished from beauty, 166.
Distinguished from propriety, ib. As
to quantity, congruity coincides with
proportion, 170.

Connection essential in all composi
tions, 23.

Conquest of Granada, of Dryden cen-
sured, 234.
Consonants, 249.

Constancy, consummate beauty the
cause of inconstancy, 199.
Construction, of language explained,
264, &c.

Contemplation, when painful, 156.
Contempt, raised by improper action,
138.

Contrast, chap. viii. Its effect in lan-
guage, 251. In a series of objects,
252. Contrast in the thought requires
contrast in the members of the expres-
sion, 251. The effect of contrast in
gardening, 450.

Conviction, intuitive. See Intuitive Con-
viction.

Copulative, to drop the copulative en-
livens the expression, 264, &c.
Coriolanus, of Shakspeare censured,
234.

Corneille, censured, 219. 229. 240. 243.
Corporeal pleasure, 11-13. Low and
sometimes mean, 174.
Couplet, 298. Rules for its composi-
tion, 316.

Courage, of greater dignity than jus-
tice, 174.
Creticus, 324.

Criminal, the hour of execution seems to
him to approach with a swift pace, 89.
Criticism, its advantages, 14, 15. Its
terms not accurately defined, 212.
Crowd, defined, 485.
Curiosity, 131. 139, &c.
Custom and habit, ch. xiv.

Renders

objects familiar, 131. Custom distin-
guished from habit, 193. Custom
puts the rich and poor upon a level,
201. Taste in the fine arts improved
by custom, 472, note.

Dactyle, 324.
Davila, censured, 159.
Declensions, explained, 267.

Dedications. See Epistles Dedicatory.
Delicacy, of taste, 61. 472.
Derision, 169. 179.

Des Cartes, censured, 477, note.
Descent, not painful, 114.
Description, it animates a description to
represent things past as present, 55.
The rules that ought to govern it,
392, &c. A lively description is
agreeable, though the subject describ-
ed be disagreeable, 409. No objects
but those of sight can be well des-
cribed, 480.

Descriptive personifications, 351.
Descriptive tragedy, 217.

Desire, defined, 29. It impels us to ac-
tion, 31. It determines the will, 96.
Desire in a criminal to be punished,
99. Desire tends the most to happi-
ness when moderate, 108.
Dialogue,dialogue writing requires great
genius, 216, &c. In dialogue every
expression ought to be suited to the
character of the speaker, 404. Dia-
logue makes a deeper impression than
narration, 415. Qualified for express-
ing sentiments, 416. Rules for it,
427, &c.

Dignity and grace, chap. xi. Dignity
of human nature, 469.
Diiambus, 324.
Diphthongs, 249.

Disagreeable emotions and passions,
58, &c.

Discordant sounds, defined, 68.
Dispondeus, 324.
Disposition, defined, 483.
Dissimilar emotions, 68. Their effects

when coexistent, 71. 444. 450. 457.
Dissimilar passions, their effects, 76.
Dissocial passions, 33. All of them
painful, 59. and also disagreeable, 60.
Distance, the natural method of com-
puting the distance of objects, 92, &c.
Errors to which this computation is
liable, 455. 459.
Ditrochæus, 324.
Door, its proportion, 452.

Double action, in an epic poem, 430.
Double Dealer, of Congreve censured,
231.431.

Double plot, in a dramatic composition,
4:25.

Drama, ancient and modern compared,
432, &c.

Dramatic poetry, ch. xxii.
Drapery, ought to hang loose, 95.
Dress, rules about dress, 167. 443.
Dryden, censured, 375. 427. 431.
Duties, moral duties distinguished into
those which respect ourselves and
those which respect others, 170. Foun-
dation of duties that respect ourselves,

ib., of those that respect oths, ib.
Duty of acting up to the dignity of
our nature, 173. 175.
Dwelling-house, its external form, 452,
&c. Internal form, 453. 458.

Education, promoted by the fine arts, 14.
451. Means to promote in young per
sons a habit of virtue, 40.

Effects, resembling effects may be pro-
duced by causes that have no resem-
blance, 283.

Effect, defined, 488.

Efficient cause, of less importance than
the final cause, 175.

Electra, of Sophocles censured, 204.
Elevation, 110, &c. Real and figurative
intimately connected, 114. Figura-
tive elevation distinguished from figu-
rative grandeur, 333, 334.

Emotion, what feelings are termed emo-
tions, 26. Emotions defined, 27, &c.
And their causes assigned, 28. Dis-
tinguished from passions, 30. Emo-
tion generated by relations, 41, &c.
Emotions expanded upon related ob-
jects, 41, &c. 275. 283. 309. 349, 350.
380. Emotions distinguished into pri-
mary and secondary, 43. Raised by
fiction, 50, &c. Raised by painting,
54. Emotions divided into pleasant
and painful, agreeable and disagree-
able, 59, &c. 480. The interrupted ex-
istence of emotions, 63, &c. Their
growth and decay, 64, &c. Their
identity, ib. Coexistent emotions, 67,
&c. Emotions similar and dissimilar,
68. Complex emotions, 69, 70. Ef-
fects of similar coexistent emotions,
69. 457. Effects of dissimilar coex-
istent emotions, 71, 444. Influence of
emotions upon our perceptions, opi-
nions, and belief, 82, &c. 92, 93. 144.
146. 347. 359. 361. 365, &c. Emo-
tions resemble their causes, 94, &c.
Emotions of grandeur, 109, &c., of
sublimity, 110. A low emotion, 115.
Emotion of laughter, ch. vii., of ridi-
cule, 138. Emotions when contrasted
should not be too slow nor too quick
in their succession, 149. Emotions
raised by the fine arts ought to be con-
trasted in succession, ib. Emotion of
congruity, 165, &c., of propriety, 167.
Emotions produced by human actions,
172. Ranked according to their dig-
nity, 173. External signs of emo-
tions, ch. xv. Attractive and repul-
sive emotions, 210. What emotions
do best in succession, what in con-
junction, 444. What emotions are
raised by the productions of manu
factures, 451, note. Man is passive

with regard to his emotions, 475.
We are conscious of emotions as in
the heart, ib.
Emphasis, defined, 309, note. Ought
never to be but upon words of im-
portance, 287. 310.*

Eneid, its unity of action. See Virgil.
English plays, generally irregular, 439.
English comedies generally licen-
tious, 36.

English tongue, too rough, 251. In
English words the long syllable is put
early, 250, note. English tongue more
grave and sedate in its tone than the
French, 311, note. Peculiarly quali-
fied for personification, 350, note.
Entablature, 461.

Envy, defined, 30. How generated, 65.
Why it is perpetual, 66. It magni-
fies every bad quality in its object, 84.
Epic poem, no improbable fact ought to
be admitted, 57. Machinery in it has
a bad effect, ib. It doth not always
reject ludicrous images, 151. Its com-
mencement ought to be modest and
simple, 392. In what respect it dif
fers from a tragedy, 414. Distin-
guished into pathetic and moral, 415.
Its good effects, 417. Compared with
tragedy as to the subjects proper for
each, 416. How far it may borrow
from history, 419. Rule for dividing
it into parts, 420.

Epic poetry, ch. xxii.

Epicurus, censured, 477, note.
Episode, in an historical poem, 424.
Requisites, 425.

Epistles dedicatory, censured, 165,

note.

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sion, what emotions they raise in a
spectator, 209.

Eye-sight, influenced by passion, 93.
144, 145.

Face, though uniformity prevail in the
human face, yet every face is distin-
guishable from another, 163.
Faculty, by which we know passion
from its external signs, 214.
Fairy Queen, criticised, 373.
False quantity, painful to the ear,
Fame, love of, 101.

299.

Familiarity, its effect, 64. 131. 380., it
wears off by absence, 134.
Fashion, its influence accounted for, 42.
Fashion is in a continual flux, 107.
Fear, explained, 47, &c. Rises often to
its utmost pitch in an instant, 65.
Fear arising from affection or aver
sion, ib. Fear is infectious, 95.
Feeling, its different significations, 476.
Fiction, emotions raised by fiction, 50,
&c.

Figure, beauty of, 104. Definition of a
regular figure, 481.

Figures, some passions favourable to
figurative expression, 237. 335.
Figures, ch. xx. Figure of speech, 353.
370. 379, &c. Figures were of old
much strained, 325. 372.

Final cause, defined, 175. Final cause
of our sense of order and connection,
26., of the sympathetic emotion of
virtue, 40., of the instinctive passion
of fear, 48., of the instinctive passion
of anger., 50., of ideal presence, 52,
&c., of the power that fiction has over
the mind, 51., of emotions and pas-
sions, 96, &c., of the communication
of passion to related objects, 101., of
regularity, uniformity, order, and sim-
plicity, 104., of proportion, ib., of
beauty, 108. Why certain objects are
neither pleasant nor painful, 113. 127.,
of the pleasure we have in motion
and force, 130., of curiosity, 131., of
wonder, 136., of surprise, ib., of the
principle that prompts us to perfect
every work, 147., of the pleasure or
pain that results from the different
circumstances of a train of percep
tions, 157, &c., of congruity and pro-
priety, 170, &c., of dignity and mean-
ness, 175, &c., of habit, 201, &c., of
the external signs of passion and emo-
tion, 211, &c. Why articulate sounds
singly agreeable are always agree-
able in conjunction, 249., of the plea-
sure we have in language, 409., of our
relish for various proportions in quan-
tity, 455. Why delicacy of taste is
withheld from the bulk of mankind,

467., of our conviction of a common
standard in every species of beings,
469., of uniformity of taste in the fine
arts, 469, 470. Why the sense of a
right and a wrong in the fine arts is
less clear than the use of a right and
a wrong in actions, 471. Final cause
of greater importance than the effi-
cient cause, 175.

Fine arts, defined, 12. 16. A subject of
reasoning, 14. Education, promoted
by the fine arts, 14, 15. 451. The
fine arts a great support to morality,
13. 452. 465, &c. Their emotions
ought to be contrasted in succession,
149. Uniformity and variety in the
fine arts, 159. Considered with res-
pect to dignity, 175. How far they
may be regulated by custom, 202.
None of them are imitative but paint-
ing and sculpture, 247. Aberrations
from a true taste in these arts, 470.
Who qualified to be judges in the fine
arts, 472.

Fluid, motion of fluids, 128.
Foot, the effect that syllables collected
into feet have upon the ear, 265.
Musical feet defined, 293, note.
A
list of verse-feet, 323, 324.
Force, produces a feeling that resembles
it, 93. Force, ch. v.
Moving force, 128. Force gives a plea-
sure differing from that of motion,
129. It contributes to grandeur, 130.
Foreign, preference given to foreign cu-
riosities, 135.

Fountains, in what form they ought to
be, 448.

French dramatic writers, criticised, 219.
232. 439, note.

French verse, requires rhyme, 322.
French language, more lively to the ear
than the English, 311, note. In French
words the last syllable generally long
and accented, ib. note.
Friendship, considered with respect to
dignity and meanness, 173.

Gallery, why it appears longer than it is

in reality, 446. Is not an agreeable
figure of a room, 457.

Games, public games of the Greeks, 129.
Gardening, a fine garden gives lustre to
the owner, 43, note. Grandeur of
manner in gardening, 122. Its emo-
tions ought to be contrasted in succes-
sion, 149. A small garden should be
confined to a single expression, 150.
412. A garden near a great city
should have an air of solitude, 150.
A garden in a wild country should be
gay and splendid, ib. Gardening,
ch. xxiv. What emotions can be

raised by it, 442. Its emotions com-
pared with those of architecture, ib.
Simplicity ought to be the governing
taste, 443. Wherein the unity of a
garden consists, 414. How far should
regularity be studied in it, 445. Re-
semblance carried too far in it, 445,
note. Grandeur in gardening, ib.
Every unnatural object ought to be
rejected, 446. Distant and faint imi-
tations displease, 447. Winter-gar-
den, 450. The effect of giving play
to the imagination, 451. Garden-
ing inspires benevolence, ib. And
contributes to rectitude of manners,
465.

General idea, there cannot be such thing,
478, note.

General terms, should be avo`ded in com-
positions for amusement, 122. 404.
General theorems, why agreeable, 107.
Generic habit, defined, 198.
Generosity, why of greater dignity than
justice, 174.

Genus, defined, 485.

Gestures, that accompany the different
passions, 205, &c.
Gierusalemme Liberata, censured, 422,
423.

Globe, a beautiful figure, 160.
Good-nature, why of less dignity than
courage or generosity, 174.
Gothic tower, its beauty, 458. Gothic
form of buildings, 464.
Government, natural foundation of sub-
mission to government, 100.
Grace, ch. xi. Grace of motion, 128.
Grace analyzed, 177, &c.
Grandeur and sublimity, ch. iv. Dis-
tinguished from beauty, 110. Gran-
deur demands not strict regularity,
111. Regularity, order, and propor-
tion, contribute to grandeur, ib. Real
and figurative grandeur intimately
connected, 114. Grandeur of manner,
149. Grandeur may be employed in-
directly to humble the mind, 124.
Suits ill with wit and ridicule, 150
Fixes the attention, 163. Figurat
grandeur distinguished from figura
tive elevation, 333. Grandeur in gar
dening, 445. Irregularity and dispro-
portion increase in appearance the
size of a building, 459.
Gratification, of passion, 32. 35. 80. 86.
348. 359. 361, &c. Obstacles to gra-
tification inflame a passion, 65.
Gratitude, considered with respect to its
gratification, 64. Exerted upon the
children of the benefactor, 84. Pu-
nishment of ingratitude, 171. Grati
tude considered with respect to dig.
nity and meanness, 175.

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