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Plautus, the liberty he takes as to place
and time, 439.

Play, is a chain of connected facts, each

scene making a link, 431.
Play of words, 189, &c. 245, &c., gone
into disrepute, 190. Comparisons
that resolve into a play of words,
343, &c.

Pleasant emotions and passions, 59,
&c. Social passions more pleasant
than the selfish, 176. Pleasant pain
explained, 69.

Pleasure, pleasures of seeing and hear-

ing distinguished from those of the
other senses, I1, &c., pleasure of or-
der, 22, &c., of connection, 22. Plea-
sures of taste, touch, and smell, not
termed emotions or passions, 26.
Pleasure of a reverie, 53. 156. Plea-
sures refined and gross, 62. Pleasure
of a train of perceptions in certain
circumstances, 155, &c. Corporeal
pleasure low, and sometimes mean,
174. Pleasures of the eye and ear
never low or mean, ib. Pleasures of
the understanding are high in point of
dignity, 175. Custom augments mo-
derate pleasures, but diminishes those
that are intense, 201. Some pleasures
felt internally, some externally, 481.
Poet, the chief talent of a poet who
deals in the pathetic, 205.
Poetical flights, in what state of mind
they are most relished, 335.
Poetry, grandeur of manner in poetry,
119, &c. How far variety is proper,
159. Objects that strike terror have a
fine effect in it, 410. Objects of hor-
ror ought to be banished from it, 411.
Poetry has power over all the human
affections, 442. The most successful
in describing objects of sight, 486.
Polite behaviour, 62.

Polygon, regular its beauty, 106.
Polysyllables, how far agreeable to the
ear, 253., seldom have place in the
construction of English verse, 299.

311.

Pompey, of Corneille censured, 225.
231, 232.

Poor, habit puts them on a level with
the rich, 201, 202.

Pope, excels in the variety of his melo-
dy, 307., censured, 338. 344. 400.
His style compared with that of
Swift, 404.

Posture, constrained posture disagree-
able to the spectator, 95.
Power of abstraction, 485, 486., its use,
387.

Prepositions explained, 270.

Pride, how generated, 64., why it is
perpetual, 66. incites us to ridicule |

the blunders ana absurdities of others,
169., a pleasant passion, 169, 170.,
considered with respect to dignity and
meanness, 175. Its external expres-
sions or signs disagreeable, 210.
Primary, and secondary qualities of
matter, 107. Primary and secondary
relations, 165, note.

Principle of order, 22., of morality,
28. 40. 168, &c., of self-preservation,
47., of selfishness, 97., of benevo-
lence, ib., &c., of punishment, 100.
169. Principle that makes us fond of
esteem, 100. 118., of curiosity, 131.
139., of habit, 200, 201. Principle that
makes us wish ethers to be of our
opinion, 468, 469. Principle de-
fined, 483., sometimes so enlivened as
to become an emotion, 40. See Pro-
pensity.

Principles of the fine arts, 14.
Proceleusmaticus, 324.
Prodigies, find ready credit with the
vulgar, 88.

Prologue, of the ancient tragedy, 433.
Pronoun, defined, 274.
Pronunciation, rules for it, 283, &c.,
287., distinguished from singing, 287.
Singing and pronouncing compared,
288.

Propensity, sometimes so enlivened as
to become an emotion, 40. 65., op-
posed to affection, 67. Opinion and
belief influenced by it, 88. Propen-
sity to justify our passions and ac-
tions, 83. Propensity to punish guilt
and reward virtue, 100, &c.
Pro-
pensity to carry along the good or bad
properties of one subject to another,
42. 95. 103. 247. 275. 283. 295. 309.
366. 380. Propensity to complete
every work that is begun, and to carry
things to perfection, 146. 461. Pro-
pensity to communicate to others every
thing that affects us, 235. Propensity
to place together things mutually con-
nected, 283. Propensity defined, 483.
See Principle.

Properties, transferred from one subject
to another, 42. 95 103. 247. 275. 283.
295. 309. 366. 380.

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Property, the affection man bears to his
property, 43. A recondary relation,
166, note.

Prophecy, those who believe in prophe-
cies wish the accomplishment, 101.
Propriety, ch. x., a secondaty relation
165., note., distinguished frem con-
gruity, 166., distinguished from pro-
portion, 170. Propriety in buildings,
457. 458.
Proportion, contributes to grandeur,
111., distinguished from propriety.

170. As to quantity coincides with
congruity, ., examined as applied
to architecture, 454. Proportion de-
fined, 482.

Prose, distinguished from verse, 289, &c.
Prospect, an unbounded prospect dis-
agreeable, 146., note. By what means
a prospect may be improved, 446.
Provoked Husband, censured, 426.
Pun, defined, 191.

Punishment, in the place where the
crime was committed, 148. Punish-
ment of impropriety, 169, &c.
Public games, of the Greeks, 129.
Phyrrhichus, 323.

Qualities, primary and secondary, 107.
A quality cannot be conceived inde-
pendent of the subject to which it be-
longs, 269. Different qualities per-
ceived by different senses, 474, 475.
Communicated to related objects.
See Propensity.

Quantity, with respect to melody, 291.
Quantity with respect to English
verse, 298. False quantity, 299.
Quintilian, censured, 362.
Quintus Curtius, censured, 222.

Racine, criticised, 240. Censured, 243.
Rape of the Lock, characterized, 179.
Its verse admirable, 292.
Reading, chief talent of a fine reader,
205. Plaintive passions require a
slow pronunciation, 219, note. Rules
for reading, 286, &c., compared with
singing, 287.

Reality, of external objects, 51.
Reason, reasons to justify a favourite
opinion are always at hand, and
much relished, 83.
Recitative, 290.
Refined pleasure, 61.
Regularity, not so essential in great ob-
jects as in small, 111., not in a small
work so much as in one that is ex-
tensive, ib. How far to be studied in
architecture, 442. 445. 454. How far
to be studied in a garden, 443, 444.
Regular line defined, 481. Regular
figure defined, 481. Regularity pro-
per and figurative, 482.
Relations, 19. Have an influence in
generating emotions and passions, 42.
&c. Are the foundation of congruity
and propriety, 165. Primary and
secondary relations, ib. note. In what
manner are relations expressed in
words, 266, &c. The effect that even
the slighter relations have on the
mind, 449.

Relative beauty, 103. 449.

Remorse, anguish of remorse, 95., its

gratification, 99. Punishment pro
vided by nature for injustice, 172.,
is not mean, 175.
Repartee, 192.
Repetitions, 406.

Representation, its perfection lies in
hiding itself and producing an im-
pression of reality, 435.
Repulsive, object, 97. Repulsive pas-
sions, 97. 213.

Resemblance, and dissimilitude, ch. viii.
Resemblance in a series of objects,
252. The members of a sentence sig-
nifying a resemblance betwixt objects
ought to resemble each other, 261, &c.
Resemblance betwixt sound and sig-
nification, 282-284. No resemblance
betwixt objects of different senses,
283. Resembling causes may pro-
duce effects that have no resemblance,
and causes that have no resemblance
may produce resembling effects, ib.,
&c. The faintest resemblance be-
twixt sound and signification gives
the greatest pleasure, 284, &c. Re-
semblance carried too far in some
gardens, 445, note.

Resentment, explained, 48, &c. Dis-
agreeable in excess, 61. Extended
against relations of the offender, 85.
Its gratification, 99. When immo-
derate is silent, 236.

Rest, neither agreeable nor disagreeable,
127., explained, 243.

Revenge, animates but doth not elevate
the mind, 118. Has no dignity in it,

175. When immoderate is silent,
236., improper, but not mean, 174.
Reverie, cause of the pleasure we have
in it, 53. 156.

Rhyme, for what subjects it is proper,
322, &c. Melody of rhyme, 322.
Rhythmus, defined, 290.

Rich and poor put upon a level by ha
bit, 201, 202.

Riches, love of, corrupts the taste, 472.
Riddle, 447.

Ridicule, a gross pleasure, 62. Is losing
ground in England, ib. Emotion of
ridicule, 138. Not concordant with
grandeur, 150. Ridicule, 169, ch.
xii. Whether it be a test of truth,
183.

Ridiculous, distinguished from risible,
138.

Right and wrong as to actions, 28.
Risible objects, ch. vii. Risible distin-
guished from ridiculous, 138.
Room, its form, 453.
Rubens, censured, 376.

Ruin, ought not to be seen from a flower-
parterre, 444. In what form it ought
to be, 448.

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Selfish, passions, 32, 33. Are pleasant,
61. Less refined and less pleasant
than the social, 62. The pain of self-
ish passions more severe than of so-
cial passions, ib. Inferior in dignity
to the social, 176. A selfish emotion
arising from a social principle, 32. A
selfish motive arising from a social
principle, 32., note.

Selfishness, promoted by luxury, 471.,
and also by love of riches, 472.
Self-love, its prevalence accounted for,
34. In excess disagreeable, 60. Not
inconsistent with benevolence, 97.
Semipause, in an hexameter line, 294.
What semipauses are found in an
English heroic line, 309.

Sensation, defined, 475., described, 479.
Sense, of order, 23, &c., contributes to
generate emotions, 43, nole., and pas-
sion 3, 45. Sense of right and wrong,
28. The veracity of our senses, 51.
477, note. Sense of congruity or pro-
priety, 165., of the dignity of human
nature, 173. 469. Sense of ridicule,
179. Sense by which we discover a
passion from its external signs, 211.
Sense of a common nature in every
species of beings, 60. 467. Sense, in-
ternal and external, 474. In touch-
ing, tasting, and smelling, we feel the
impression at the organ of sense, not
in seeing and hearing, 476.
Senses, whether active or passive, 488.
Sentence, it detracts from neatness to
vary the scene in the same sentence,
263. A sentence so arranged as to
express the sense clearly, seems al-
ways more musical than where the
sense is left in any degree doubtful,
273.

Sentiment, elevated, low, 115. Senti-
ments, ch. xvi., ought to be suited
to the passion, 216. Sentiments ex-
pressing swelling of passion, 219.,
expressing the different stages of pas-
sion, 220., dictated by coexistent pas-

sions, 221. Sentiments of strong pas
sions are hid or dissembled, 222. Sen-
timents above the tone of the passion,
223., below the tone of the passion,
225. Sentiments too gay for a scri-
ous passion, ib., too artificial for a
serious passion, ib., fanciful or finical,
226., discordant with character, 227.,
misplaced, 229. Immoral sentiments
expressed without disguise, 230-233.,
unnatural, 233. Sentiments both in
dramatic and epic compositions ought
to be subservient to the action, 420.
Sentiment defined, 480.

Sentimental music, 74, note
Series, from small to great agreeable,
114. Ascending series, ib. Descend-
ing series, ib. The effect of a num-
ber of objects placed in an increasing
or decreasing series, 252.
Serpentine river, its beauty, 128. 450.
Sertorius, of Corneille censured, 220.
Shaft of a column, 462.
Shakspeare, his sentiments just repre-
sentations of nature, 218., is superior
to all other writers in delineating pas-
sions and sentiments, 239, 240., ex-
cels in the knowledge of human na-
ture, 240, note., deals little in inver-
sion, 317., excels in drawing charac
ters, 397., his style in what respect
excelient, 404., his dialogue finely
conducted, 427., deals not in barren
scenes, 431.

Shame, arising from affection or aver-
sion, 65., is not mean, 175.
Sight, influenced by passion, 93. 146.
Similar emotions, 68., their effects when
coexistent, 69. 457.

Similar passions, 68, &c. Effects of co-
existent similar passions, 71.
Simple perception, 480.
Simplicity, taste for simplicity has pro-
duced many Utopian systems of hu-
man nature, 27. Beauty of simpli-
city, 104., abandoned in the fine arts,
107., a great beauty in tragedy, 425.,
ought to be the governing taste in gar-
dening and architecture, 443.
Singing, distinguished from pronoun-
cing or reading, 287. Singing and
pronouncing compared, 288.
Situation, different situations suited to
different buildings, 458.

Sky, the relish of it lost by familiarity,
64.

Smelling, in smelling we feel an impres-
sion upon the organ of sense, 11. 476.
Smoke, the pleasure of ascending smoke
accounted for, 128.

Social passions, 32., more refined and
more pleasant than the selfish, 62.
The pain of social passions more mild

than of selfish passions, ib. Social
passions are of greater dignity, 176.
Society, advantages of, 101.
Soliloquy, has a foundation in nature,
242. Soliloquies, 241, &c.
Sophocles, generally correct in the dra-
matic rules, 438.

Sounds, power of sounds to raise emo-
tions, 35, 36., concordant, 68., dis-
cordant, ib., disagreeable sounds, 74.,
fit for accompanying certain passions,
74, 75. Sounds produce emotions

that resemble them, 94., articulate how
far agreeable to the ear, 248-250. A
smooth sound soothes the mind, and a
rough sound animates, 251. A con-
tinued sound tends to lay us asleep, an
interrupted sound rouses and ani-
mates, 265.

Space, natural computation of space,
92, &c. Space explained, 485, 486.
Species, defined, 485.

Specific habit, defined, 198.

Substratum, defined, 475.
Succession, of perceptions and ideas,
19. 152, &c. In a quick succession of
the most beautiful objects we are
scarce sensible of any emotion, 53.
Succession of syllables in a word,
249., of objects, 252.

Superlatives, inferior writers deal ir su-
perlatives, 367.

Surprise, the essence of wit, 21. 185.
Instantaneous, 64, 65. 186., decays
suddenly, 65. 186., pleasant or painful
according to circumstances, 133, &c.
Surprise the cause of contrast, 144.,
has an influence upon our opinions,
and even upon our eye-sight, 147.
Surprise a silent passion, 236. studi-
ed in Chinese gardens, 451.
Suspense, an uneasy state, 90.
Sweet distress, explained, 68.
Swift, his language always suited to
his subject, 403., has a peculiar energy
of style. 404., compared with Pope, ib.

Speech, power of speech to raise emo- | Syllable, 248, &c. Syllables considered

tions, whence derived, 53. 56.

Spondee, 293, 294. 323.

Square, its beauty, 106. 160.
Stairs, their proportion, 453.

Standard of taste, ch. xxv. Standard
of morals, 468–471.
Star, in gardening, 445.

An

Statue, the reason why a statue is not
coloured, 149. The limbs of a statue
ought to be contrasted, 159.
equestrian statue is placed in a centre
of streets, that it may be seen from
many places at once, 405. Statues
for adorning a building, where to be
placed, 459, 460. Statue of an animal
pouring out water, 448., of a water-
god pouring water out of his urn,
465. Statues of animals employed
as supports condemned, ib. Naked
statues condemned, 457, note.
Steeple, ought to be pyramidal, 159.
Strada, censured, 392.

Style, natural and inverted, 270, &c.
The beauties of a natural style, 281.,
of an inverted style, ib. Concise
style a great ornament, 406.
Subject, may be conceived independent
of any particular quality, 269. Sub-
ject with respect to its qualities, 474.
486. Subject defined, 488.
Sublimity, ch. iv. Sublime in poetry,
115. General terms ought to be avoid-
ed where sublimity is intended, 122.
Sublimity may be employed indirectly
to sink the mind, 124. False sub-
lime, 125.

Submission, natural foundation of sub-
mission to government, 100, &c.
Substance, defined, 475.

as composing words, 249. Syllables
long and short, 250, 292. Many syl-
lables in English are arbitrary, 298.
Sympathy, sympathetic emotion of vir-
tue, 40, &c. The pain of sympathy
is voluntary, 62. It improves the teni-
per, ib.

Sympathy, 98., attractive, 93. 212., ne-
ver low nor mean, 174., the cement
of society, 212.

Synthetic, and analytic methods of rea-
soning compared, 22.

Tacitus, excels in drawing characters,
397., his style comprehensive, 407.
Tasso, censured, 422. 424.
Taste, in tasting we feel an impression
upon the organ of sense, 11. 476.
Taste in the fine arts though natural
requires culture, 13. 472, note. Taste
in the fine arts compared with the
moral sense, 13., its advantages, 14,
15. Delicacy of taste, 61. 472., a low
taste, 115. Taste in some measure
influenced by reflection, 462, note.
The foundation of a right and wrong
in taste, 466. Taste in the fine arts
as well as in morals corrupted by vo-
luptuousness, 471., corrupted by love
of riches, 472. Taste never naturally
bad or wrong, 473. Aberrations from
a true taste in the fine arts, 476.
Tautology, a blemish in writing, 407.
Telemachus, an epic poem, 414, note.
Censured, 425, note.

Temples, of ancient and modern virtue
in the gardens of Stow, 464.
Terence, censured, 242. 439.
Terror, arises sometimes to its utmost

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Time, past time expressed as present. Vay a facere Tanz, f
55, &c. Natural computation of ume
89, &c. Time explained, 485.
Titus Livius. See Livy.
Tone, of mind, 475.

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Touch, in touching we feel an impres
sion upon the organ of sense, 1147€.
Trachiniens, of Sophocles censured, 438
Tragedy, the deepest tragedies are the
most crowded, 213, note. The later
English tragedies censured, 217. Verse
French tragedy censured, 219,
232. The Greek tragedy accompa
nied with musical notes to ascerta
the pronunciation, 29. Tract
ch. xxii., in what respect it c
from an epic poem, 414. &c., drs
guished into pathetic and moral 415
its good effects, 416., compared wit
the epic as to the subjects proper ine
each, 416, 417., how far I SAT YE
row from history, 419, re
viding it into acts, 430 4!
plot in it, 425, admits soc
tion or supernatural even s
origin, 432. Ancient tr

tinued representation
ruption, 433.

modern drama, 434

Tragi-comedy, 4:26.

Trees, the best manner of play
445, 446.

Triangle, equilateral, its beary 1
Tibrachys, 323.

Trochæus, 323.

Tropes, ch. xx.

Ugliness, proper and £

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432, &c. Unites of some and vé para
not required in an est
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cient drama, is

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