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Greek words, finely composed of long | Hyperbole, 124, 361, &c.
and short syllables, 319.
Hippobachius, 324.
Grief, magnifies its cause, 85. Occa-
sions a false reckoning of time, 92.
Is infectious, 95. When immoderate
is silent, 236.
Gross pleasure, 62.

Group, natural objects readily form
themselves into groups, 160.
Guido, censured, 376.

Habit, ch. xiv. Prevails in old age,
152. Habit of application to busi-
ness, 155, 156, 157. Converts pain
into pleasure, 158. Distinguished
from custom, 193. Puts the rich and
poor upon a level, 201, 202.
Harmony, or concord in objects of
sight, 68, 69. Harmony distinguish-
ed from melody, 290, note.
Hatred, how produced, 65. Signifies
more commonly affection than pas-
sion, ib. Its endurance, 67.
Hearing, in hearing we feel no impres-
sion, 476.

Henriade, censured, 395. 422. 424.
Hexameter, Virgil's hexameter's ex-
tremely melodious, those of Horace
seldom so, 290. And the reason why
they are not, 292. Structure of an
hexameter line, 294. Rules for its
structure, 294. 297. Musical pauses
in an hexameter line, 293, note, 296.
Wherein its melody consists, 297.
Hiatus, defined, 250.

Hippolytus, of Euripides censured, 229.
438.

History, why the history of heroes and
conquerors is singularly agreeable,
40. 117. By what means does his-
tory raise our passions, 54. It rejects
poetical images, 392.

History-painting. See Painting.
Homer, defective in order and connec-
tion, 23. His language finely suited
to his subject, 402. His repetitions
defended, 406. His poems in a great
measure dramatic, 415. Censured,

423.

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Iambic verse, its modulation faint, 290.
Iambus, 323.

Jane Shore, censured, 222. 228.
Idea, not so easily remembered as a per-
ception is, 91, 92. 152. Succession of
ideas, 152. Pleasure and pain of
ideas in a train, 155, 156. Idea of
memory defined, 476. Cannot be in-
nate, 478, note. There are no general
ideas, ib., note. Idea of an object of
sight more distinct than of any other
object, 479. Ideas distinguished into
three kinds, 480. Ideas of imagina-
tion not so pleasant as ideas of me-
mory, 482.

Ideal presence, 52, &c., raised by thea-
trical representation, 54., raised by
painting, ib.

Ideal system, 477, note.

Identity of a passion or of an emotion,
64.

Jet d'eau, 129. 447, 448.
Jingle of words, 316. 320.
Iliad, criticised, 430.

Images the life of poetry and rhetoric,
53. 122.

Imagination, the great instrument of re-
creation, 137. To give play to it has
a good effect in gardening, 451. Its
power in fabricating images, 480.48)
Agreeableness of ideas of imagina-
tion, 482.

Imitation, we naturally imi ate virtu-
ous actions, 95. Not thos: that are
vicious, ib. Inarticulate sounds imi-
tated in words, 282. None of the fine
arts imitate nature except painting
and sculpture, 247. The agreeable-
ness of imitation overbalances the dis-
agreeableness of the subject, 409.
Distant and faint imitations d splease,
447.

Impression, made on the organ of sense,
11.476. Successive impressic as, 252.
Impropriety in action raises contempt,
138. Its punishment, 169.
Impulse, a strong impulse succeeding a
weak, makes a double impression: a
weak impulse succeeding a strong,
makes scarce any impression, £52.
Infinite series, becomes disagreeable
when prolonged, 146, note.
Innate idea, there cannot be such a
thing, 478, note.

Instinct, we act sometimes by instinct,
31. 47, &c.

Instrument, the means or instrument
conceived to be the agent, 365.
Intellectual pleasure, 12.
Internal sense, 475.

Intrinsic beauty, 103.
Intuitive conviction, of the veracity of
our senses, 51., of the dignity of hu-
man nature, 174. 469., of a common
nature or standard in every species of
beings, 467., of this standard being in-
variable, 468., and of its being perfect
or right, ib. Intuitive conviction that
the external signs of passion are na-
tural, and also that they are the same
in all men, 211, 212.
Intuitive knowledge of external ob-
jects, 51.

Inversion, and inverted style described,

268, &c. Inversion gives force and
liveliness to the expression by sus-
pending the thought till the close, 277.
Inversion how regulated, 281. Beau-
ties of inversion, ib. Inversion fa-
vourable to pauses, 306. Full scope
for it in blank verse, 317.
Involuntary signs, of passion, 205-208.
Ionicus, 324.

Joy, its cause, 37, 38. Infectious, 95.
Considered with respect to dignity
and meanness, 175.

Iphigenia of Racine, censured, 203.
Iphigenia in Tauris, censured, 242. 438.
Irony, defined, 182.

Italian tongue, too smooth, 251, note.
Italian words finely diversified by long
and 'short syllables, 250, note.
Judgment, and memory in perfection,
seldom united, 21. Judgment seldom
united with wit, ib.

Julius Cæsar, of Shakspeare censured,
233, 234.

Justice, of less dignity than generosity
or courage, 174.

Kent, his skill in gardening, 444.
Key-note, 287. 292.
Kitchen-garden, 441.

Knowledge, intuitive knowledge of ex-
ternal objects, 51. Its pleasures never
decay, 200.

Labyrinth, in a garden, 447.
Landscape, why so agreeable, 69. 164.
More agreeable when comprehended
under one view, 446. A landscape in
painting ought to be confined to a sin-
gle expression, 150. Contrast ought|
to prevail in it, 159.

Language, power of language to raise
emotions, whence derived, 53, 54.
Language of passion, chap. xvii.
Ought to be suited to the sentiments,
216. 236-238., broken and interrupt-
ed, 236., of impetuous passion, 238.,
of languid passion, ib, of calm emo-
tions, ib., of turbulent passions, ib.
Examples of language elevated above

the tone of the sertiment, 243. Of
language too artificial or too figura-
tive, 244., too light or airy, 245. Lan-
guage how far imitative, 247. Its
beauty with respect to signification,
248. 254, &c. Its beauty with respect
to sounds, 248, &c. It ought to cor-
respond to the subject, 257. 400. Its
structure explained, 266, &c. Beauty
of language from a resemblance be-
twixt sound and signification, 266.
248, &c. The character of a lan-
guage depends on the character of the
nation whose language it is, 311, note.
The force of language consists in
raising complete images, 57. 409. Its
power of producing pleasant emo-

tions, 408. Without language man

would scarce be a rational being, 487.
Latin tongue, finely diversified with
long and short syllables, 319.
L'Avare, of Moliere censured, 233.
Laughter, 137.

Laugh, of derision or scorn, 138. 169.
Law, defined, 171.

Laws of human nature, necessary suc-
cession of perceptions, 20. 152. We
never act but through the impulse of
desire, 30. 96. An object loses its
relish by familiarity, 64. Passions
sudden in their growth are equally
sudden in their decay, 66. 196. Every
passion ceases upon obtaining its ul-
timate end, 66. An agreeable cause
produceth always a pleasant emotion,
and a disagreeable cause a painful
emotion, 96.

Laws of motion, agreeable, 107.
Les Freres ennemies of Racine, cen-
sured, 225.

Lewis XIV. of France, censured, 165,

note.

Lex talionis, upon what principle found.
ed, 148.

Line, definition of a regular line, 481.
Littleness, is neither pleasant nor pain.

ful, 113. Ls connected with respect
and humility, 206, note.
Livy, censured, 256.

Locke, censured, 477, 478, note.
Logic, cause of its obscurity and intri-
cacy, 211.

Logio, improper in this climate, 454.
Love, to children accounted for, 43.

The love a man bears to his country
explained, 45. Love produced by
pity, 46. Love gradual, 64. It sig-
nifies more commonly affection than
passion, 65. Love inflamed by the
caprices of a mistress, 66. Its endu-
rance, 67. To a lover absence ap-
pears long, 89. Love assumes the
qualities of its object, 95., when ex-

cessive becomes selfish, 108., consi-
dered with respect to dignity and
meanness, 174., seldom constant when
founded on exquisite beauty, 199., ill
represented in French plays, 232.,
when immoderate is silent, 236.
Love for Love, censured, 431.
Lowness, is neither pleasant nor pain-
ful, 113.

Lucan, too minute in his descriptions,
21., censured, 415
Ludicrous, 137., may be introduced into
an epic poem, 151.

Lutrin, censured for incongruity, 166.,
characterised, 179.
Luxury, corrupts our taste, 471, 472.

Machinery, ought to be excluded from
an epic poem, 57. 421., does well in a
burlesque poem, 57.
Malice, how generated, 64. Why it is
perpetual, 66.

Man, a benevolent as well as a selfish
being, 97, 98., fitted for society, 100.
Conformity of the nature of man to
his external circumstances, 113. 127.
130. 163. 208. Man intended to be
more active than contemplative, 175.
The different branches of his internal
constitution finely suited to each other,
455. 470.

Manners, gross and refined, 62. The
bad tendency of rough and blunt man-
ners, 212, note. Modern manners
make a poor figure in an epic poem,

419.
Manufactures, the effect of their produc-
tions with respect to morality, 451,
nole.

Marvellous, in epic poetry, 423.
Means, the means or instrument con-
ceived to be the agent, 365, &c.
Measure, natural measure of time, 89,
&c., of space, 92, &c.
Meaux, Bishop of, censured, 149.
Medea, of Euripides censured, 438.
Melody or modulation defined, 290., dis-
tinguished from harmony, ib., note.
In English heroic verse are four dif-
ferent sorts of melody, 300. 311. Me-
lody of blank verse superior to that of
rhyme, and even to that of hexameter,
317.

Members of a period have a fine effect

placed in an increasing series, 252.
Memory, and judgment in perfection
seldom united, 21. Memory and wit
often united, ib., greater with respect
to perceptions than ideas, 91. Me-
mory, 476-478.

Merry Wives of Windsor, its double

plot well contrived, 426.
Metaphor, 368, &c. In early composi-

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Mile; the computed miles are longer in
a barren than in a populous coun-
try, 91.

Milton, his style much inverted, 317.
The defect of his versification is the
want of coincidence betwixt the
pauses of the sense and sound, 319.
The beauty of Milton's comparisons,
328, &c.

Moderation in our desires contributes
the most to happiness, 108.
Modern manners, make a poor figure in
an epic poem, 419.
Modification, defined, 484.
Modulation, defined, 289.
Molossus, 323.

Monosyllables, English, arbitrary as to
quantity, 298.

Moral duties. See Duties.
Morality, a right and a wrong taste in
morals, 468. Aberrations from its

true standard, 471.
Moral sense, 28. Our passions as well
as actions are governed by it, 60.
Moral tragedy, 415.

Up-

Motion, requires the constant exertion of
an operating cause, 63., productive of
feelings that resemble it, 94 Its laws
agreeable, 127. Motion and force,
ch. v.
What motions are the most
agreeable, 128, &c. Regular motion,
128. Accelerated motion, ib.
ward motion, ib. Undulating mo-
tion, ib. Motion of fluids, ib. A
body moved neither agreeable nor dis-
agreeable, ib. The pleasure of mo-
tion differs from that of force, 129.
Grace of motion, 130. Motions of
the human body, ib. Motion explain-
ed, 479.

Motive, defined, 32. A selfish motive
arising from a social principle, 32,

note.

Movement, applied figuratively to me-
lody, 284.

Mount, artificial, 448.

Mourning Bride, censured, 226. 233. 243.
435. 439.
Music, emotions raised by instrumental
music have not an object, 39. Music
disposes the heart to various passions,
437., refined pleasures of music, 35
Vocal distinguished from instrumen-
tal, 74, 75. What subjects proper for
vocal music, 75, &c. Sentimental
music, 74, note. Sounds fit to accom-
pany disagreeable passions cannot bə
musical, ib. note. What variety pro-
per, 157. Music betwixt the acts of a
play, the advantages that may bə

278, &c.
429.

Order in stating facts,

drawn from it, 437. It refines our
nature, 35.
Musical instruments, their different ef- Organ of sense, 11, 12.
rects upon the mind, 118.
Musical measure, defined, 290.

.

Narration, it animates a narrative to re-
present things past as present, 55.
Narration and description, ch. xxi.
It animates a narrative to make it
dramatic, 404, 405. 415, 416.
Nation defined, 187.

Organic pleasure, 12, &c.
Orlando Furioso, censured, 430.
Ornament, ought to be suited to the sub-
ject, 166, 167. Redundant ornaments
ought to be avoided, 391. Ornaments
distinguished into what are merely
such, and what have relation to use,
403. Allegorical or emblematic orr.a-
ments, 407.

Note, a high note and a low note in Ossian, excels in drawing characters,
music, 115.

Noun, 266.

Novelty soon degenerates into familiari-
ty, 66. Novelty and the unexpected
appearance of objects, ch. vi. No-
velty a pleasant emotion, 132, &c.,
distinguished from variety, 134., its
different degrees, ib., &c., fixes the
attention, 153.

Number, defined, 455., explained, 479.
Numerus, defined, 290.

Object, of a passion derned, 31., distin-
guished into general ana particular, ib.
An agreeable object produces a plea-
sant emotion, and a disagreeable ob-
ject a painful emotion, 59. Attractive
object, 97. Repulsive object, ib. Ob-
jects of sight the most complex, 103.
Objects that are neither agreeable nor
disagreeable, 113-127. Natural ob-
jects readily form themselves into
groups, 160. An object terminating
an opening in a wood, appears doubly
distant, 446. Object defined, 474.
Objects of external sense in what
place perceived, 474, 475. Objects
of internal sense, 475. All objects of
sight are complex, 479. 485. Objects
simple and complex, 485.
Obstacles, to gratification inflame a pas-
sion, 65.

(id Bachelor, censured, 431.
Opera, censured, 167.

Opinion, influenced by passion, 87. 361.,
nfluenced by propensity, 88., influ-
enced by affection, ib. Why differing
from me in opinion is disagreeable,
469. Opinion defined, 483.
Oration, of Cicero pro Archia poeta
unsured, 280.
Orchard, 449.

Order, 21. 105. 442. Pleasure we have
in order, 22, &c., necessary in all
compositions, 23. Sense of order has
an influence upon our passions, 45.
Order and proportion contribute to
grandeur, 111. When a list of many
particulars is brought into a period,
in what order sould they be placed, |

398.
Othello, censured, 411.
Ovid, censured, 160.

Pæon, 324.

Pain, cessation of pain extremely flea-
sant, 38. Pain, voluntary and invo-
luntary, 62. Different effects of pain
upon the temper, ib. Social pain less
severe than selfish, ib. Pain of a train
of perceptions in certain circum-
stances, 155. Pain lessens by cus-
tom, 201. 467. Pain of want, 201.
Painful, emotions and passions, 58, &c.
Painting, power of painting to move
our passions, 54. Its power to en-
gage our belief, 57. What degree of
variety is requisite, 159. A picture
ought to be so simple as to be seen at
one view, ib. In grotesque painting
the figures ought to be small, in histo
rical painting as great as the life, 116.
Grandeur of manner in painting, 122.
A landscape admits not variety of ex-
pression, 159. Painting is an imita-
tion of nature, 247. In history-paint-
ing, the principal figure ought to be in
the best light, 405. A good picture
agreeable, though the subject be dis-
agreeable, 409. Objects that strike
terror have a fine effect in painting,
410. Objects of horror ought not to
be represented, 411. Unity of action
in a picture, 435. What emotions can
be raised by painting, 442.
Panic, cause of it, 95.
Paradise Lost, the richness of its melo-
dy, 317., censured, 420.
Parallelogram, its beauty, 106.
Parody, defined, 182. 219, note.
Particles, 305., not capable of an ac-
cent, 309.

Passion, no pleasure of external sense
denominated a passion, except of see-
ing and hearing, 26. Passion d'stin-
guished from emotion, 29, &c. Ob-
jects of passion, 31, 32. Passions,
distinguished into instinctive and de-
liberative, 32. 47, 48, &c., what are
selfish, what social, 32., what disso-

cial, 33. Passion communicated to
related objects, 42, &c., 275. 283. 295.
309. 349.380. Generated by a com-
plex object, 45. A passion paves the
way to others of a similar tone, 46,
47. A passion paves the way to
others in the same tone, ib. Passion
raised by painting, 54. Passions
considered as pleasant or painful,
agreeable or disagreeable, 58, &c.
Our passions governed by the moral
sense, 60. Social passions more plea-
sant and less painful than the selfish,
62. Passions are infectious, 60. 95.,
are refined or gross, 61. Their inter-
rupted existence, 63, &c. Their
growth and decay, 64, &c. The
identity of a passion, 64. The bulk
of our passions are the affections of
love or hatred inflamed into a passion,
65.

Passions have a tendency to ex-
cess, ib. Passions swell by opposi-
tion, 65, 66. A passion sudden in
growth is sudden in decay, 64. A
passion founded on an original pro-
pensity endures for life, 65., founded
on affection or aversion is subject to
decay, 66. A passion ceases upon
attaining its ultimate end, 66, 67.
Coexistent passions, 67, &c. Pas-
sions similar and dissimilar, 68, &c.
Fluctuation of passion, 68. 220, &c.
222. Its influence upon our percep-
tions, opinions and belief, 87, &c.,
147. 348. 359. 361-363, &c. Pas-
sions attractive and repulsive, 97. 213.
Prone to their gratification, 98. Pas-
sions ranked according to their dig-
nity, 174, 175. Social passions_of
greater dignity than selfish, 176. Ex-
ternal signs of passions, chap. xv.
Our passions should be governed by
reason, 223. Language of passion,
chap. xvii. A passion when immo-
derate is silent, 236. Language of
passion broken and interrupted, ib.
What passions admit of figurative
expression, 237. 335. 336. Language
proper for impetuous passion, 237.,
for melancholy, 238., for calm emo-
tions, ib., for turbulent passion, ib.
In certain passions the mind is prone
to bestow sensibility upon things in-
animate, 348. 354. 357. With regard
to passion man is passive, 475. We
are conscious of passions as in the
heart, ib.

Passionate, personification, 353, &c.
Passive subject, defined, 488.
Pathetic tragedy, 415.

Pause, pauses necessary for three differ-
ent purposes, 291. Musical pauses
in an hexameter line, 294. Musical

pauses ought to coincide with those in
the sense, 296, &c. What musical
pauses are essential in English heroic
verse, 300. Rules concerning them,
300-302. Pause that includes a
couplet, 307. Pause and accent have
a mutual influence, 312, 313.
Pedestal, ought to be sparingly orna-
mented, 460.

Perceptions, more easily remembered
than ideas, 91, 92. 152. Succession
of perceptions, 19. 152. Unconnect-
ed perceptions find not easy admit-
tance to the mind, 153. 156. Pleasure
and pain of perceptions in a train,
155, &c. Perception defined, 475.,
described, 486. Original and second-
ary, 476, 477, &c. Simple and com-
plex, 476.

Period, has a fine effect when its mem-
bers proceed in the form of an in-
creasing series, 252. In the periods of
a discourse variety ought to be studied,
253. Different thoughts ought not to
be crowded into one period, 260. The
scene ought not to be changed in a
period, 263. A period so arranged as
to express the sense clearly, seems
more musical than where the sense is
left doubtful, 273. In what part of
the period doth a word make the
greatest figure, 277. A period ought
to be closed with that word which
makes the greatest figure, 278. When
there is occasion to mention many
particulars, in what order ought they
to be placed, 278, &c. A short period
is lively and familiar, a long period
grave and solemn, 279. A discourse
ought not to commence with a long
period, 280.

Passionate

Personification, 347, &c.
and descriptive, 353, &c.
Perspicuity, a capital requisite in wri-
ting, 255. Perspicuity in arrange
ment, 270.
Phantasm, 478, note.
Pharsalia, censured, 415.
Phedra, of Racine censured, 203. 240.
Picture. See Painting.
Pilaster, less beautiful than a column,

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