[The volumes are denoted by numeral letters, the pages by
figures.]
ABSTRACTION, power of, ii. 394. Its use, ii. 394.
Abstract terms, ought to be avoided in poetry, i. 203. ii. 258. Can
not be compared but by being personified, ii. 138. Personified, ii.
173. Defined, ii. 393. The use of abstract terms, ii. 394.
Accent, defined, ii. 78. The musical accents that are necessary in
an hexameter line, ii. 87. A low word must not be accented, ii.
108. Rules for accenting English heroic verse, ii. 107. How far
affected by the pause, ii. 111. ~ Accent and pause have a mutual in-
fluence, ii. 112.
Action, what feelings are raised by human actions, i. 45, 46. 190. 290.
We are impelled to action by desire, i. 50. Some actions are in-
stinctive, some intended as means to a certain end, i. 52. Actions
great and elevated, low and grovelling, i. 191. Slowness and quick-
ness in acting, to what causes owing, i. 253. 262. Emotions occa→
sioned by propriety of action, i. 281. Occasioned by impropriety
of action, i. 282. Human actions considered with respect to dig.
nity and meanness, i. 294. Actions the interpreters of the heart,
i. 353. Action is the fundamental part of epic and dramatic com→
positions, ii. 282. Unity of action, ii. 298. We are conscious of
internal action as in the head, ii. 375. Internal action may proceed
without our being conscious of it, ii. 376.
Action and reaction betwixt a passion and its object, i. 111.
Actor, bombast actor, i. 209. The chief talents of an actor, i. 349.
An actor should feel the passion he represents, 'i. 368. Difference
as to pronunciation betwixt the French and English actors, i. 371.
Admiration, i. 110. 218.
Eneid. See Virgil.
Affectation, i. 280.
Affection to children accounted for, i. 72. To blood relations, i. 72.
Affection for what belongs to us, i. 72. Social affections more re-
fined than selfish, i. 104. Affection, in what manner inflamed into
a passion, i. 110. Opposed to propensity, i. 113. Affection to
children endures longer than any other affection, i. 113. Opinion
and belief influenced by affection, i. 145. Affection defined, i. 329.
ii. 388.
Agamemnon, of Seneca censured, i. 391.
Agreeable emotions and passions, i. 98, &c. Things neither agree-
able nor disagreeable. See Object.
Alcestes, of Euripides censured, i. 409. ii. 312.
Alexandre, of Racine censured, i. 381.
Alexandrine line, ii. 89.
Allegory, defined, ii. 202. More difficult in painting than in poetry,
ii. 213. In an historical poem, ii 288.
All for love, of Dryden censured, i. 397.
Alto Relievo, ii. 349.
Ambiguity, occasioned by a wrong choice of words, ii. 17. Occa-
sioned by a wrong arrangement, ii. 41.
Amynta, of Tasso censured, i. 375.
Amor patriæ, accounted for, i. 75,
Amphibrachys, ii. 133.
Amphimacer, ii. 132.
Analytic, and synthetic methods of reasoning compared, i. 35.
Anapestus, ii. 132.
Anger, explained, i. 79, &c. Frequently comes to its height instan-
taneously, i. 109. Decays suddenly, i. 112. Sometimes exerted
against the innocent, i. 140. and even against things inanimate, i.
141. Not infectious, i. 158. Has no dignity in it, i. 293.
Angle, largest and smallest angle of vision, i. 153.
Animals, distributed by nature into classes, ii. 363.
Antibacchius, ii. 132.
Anticlimax, ii, 69.
Antispastus, ii. 133.
Antithesis, ii. 24. Verbal antithesis, i. 317. ii. 24.
Apostrophe, ii. 187, &c.
Appearance, things ought to be described in poetry, as they appear,
not as they are in reality, ii. 240.
Appetite, defined, i. 51. Appetites of hunger, thirst, animal love,
arise without an object, i. 66. Appetite for fame or esteem, i. 166.
Apprehension, dulness and quickness of apprehension, to what causes
owing, i. 254.
Architecture, ch. XXIV. Grandeur of manner in architecture, i.
198. The situation of a great house ought to be lofty, i. 277.A
play-house or a music room susceptible of much ornament, i. 279.
What emotions can be raised by architecture, ii. 318. Its emotions
compared with those of gardening, ii. 318. Every building ought
to have an expression suited to its destination, i. 319. 346. Sim-
plicity ought to be the governing taste, ii. 320. Regularity to be
studied, ii. 323. 340. External form of dwelling-houses, ii. 337.
Divisions within, ii. 337. 347. A palace ought to be regular, but
in a small house convenience ought to be preferred, ii. 336. A
dwelling-house ought to be suited to the climate, ii. 339. Con-
gruity ought to be studied, ii. 345. Architecture governed by
principles that produce opposite effects, ii. 348. Different orna-
ments employed in it, ii. 349. Witticisms in architecture, ii. 356.
Allegorical or emblematic ornaments, ii, 357. Architecture in-
spires a taste for neatness and regularity, ii. 359.
Ariosto, censured, i. 267. ii. 300.
Aristæus, the episode of Aristæus in the Georgies censured, ii. 131.
Aristotle, censured, ii. 379. note.
Army defined, ii. 396.
Arrangement, the best arrangement of words is to place them if pos-
sible in an increasing series, ii. 15. Arrangement of members in a
period, ii. 15. Of periods in a discourse, ii. 16. Ambiguity from
wrong arrangement, ii. 41. Arrangement natural and inverted, ii.
Articulate sounds, how far agreeable, ii. 7—10.
Artificial mount, ii. 329.
Arts. See Fine arts.
Ascent, pleasant, but descent not painful, i. 189.
Athalie, of Racine censured, i. 391.
Attention, defined, ii. 390. Impression made by objects depends on
the degree of attention, ii. 391. Attention not always voluntary,
Attractive passions, i. 356.
Attractive objects, i. 160.
Attractive signs of passion, i. 356.
Attributes, transferred by a figure of speech from one subject to an-
other, ii. 196, &c.
Avarice, defined, i. 48.
Avenue, to a house, ii. 329.
Aversion, defined, i. 110. 329. ii. 390.
Bajazet, of Racine censured, i. 406.
Barren scene, defined, ii. 300.
Base, of a column, ii. 353.
Basso relievo, ii. 349.
Batrachomuomachia, censured, i, 301.
Beauty, ch. III. Intrinsic and relative, i. 171. ii. 329. Beauty of
simplicity, i. 173. of figure, i. 174. of the circle, i. 175. of the square,
i. 175. of a regular polygon, i. 175. of a parallelogram, i. 176. of
an equilateral triangle, i. 176. Whether beauty be a primary or se-
condary quality of objects, i. 179. Beauty distinguished from
grandeur, i. 183. Beauty of natural colours, i. 270. Beauty dis-
tinguished from congruity, i. 278. Consummate beauty seldom
produces a constant lover, i. 337. Wherein consists the beauty of
the human visage, i. 346. Beauty proper and figurative, ii. 385.
Behaviour, gross and refined, i. 105.
Belief, of the reality of external objects, i. 85. Enforced by a lively
narrative, or a good historical painting, i. 95, 96. Influenced by
passion, i. 143, 144. ii. 167. 189. Influenced by propensity, i. 145.
Influenced by affection, i. 145.
Benevolence operates in conjunction with self-love to make us happy,
i. 161. Benevolence inspired by gardening, ii. 334.
Berkeley, censured, ii. 380. note.
Blank verse, ii. 88. 118. Its aptitude for inversion, ii. 120. Its melody,
ii. 121. How far proper in tragedy, ii. 295.
Body, defined, ii. 375.
Boileau, censured, ii. 186. 284.
Bombast, i. 207. Bombast in action, i. 209.
Bossu, censured, ii. 303. note.
Burlesque, machinery does well in a burlesque poem, i. 97. Burlesque
distinguished into two kinds, i. 300.
Business, men of middle age best qualified for it; i. 254.
Cadence, ii. 71. 78.
Capital, of a column, ii. 353.
Careless Husband, its double plot well contrived, ii. 292.
Cascade, i. 213.
Cause, resembling causes may produce effects that have no resem-
blance; and causes that have no resemblance may produce resem-
bling effects, ii. 65. Cause defined, ii. 397.
Chance, the mind revolts against misfortunes that happen by chance,
ii. 279.
Character, to draw a character is the master-stroke of description,
ii. 246.
Characteristics, of Shaftsbury criticised, i. 279. note.
Children, love to them accounted for, i. 72. A child can discover a
passion from its external signs, i. 357. Hides none of its emotions,
i. 364.
Chinese, gardens, ii. 332. Wonder and surprise studied in them, ii.
Choreus, ii. 132.
Choriambus, ii. 133.
Chorus, an essential part of the Grecian tragedy, ii. 303.
Church, what ought to be its form and situation, ii. 345.
Cicero censured, ii. 60. 72.74.
Cid, of Corneille censured, i. 374. 395.
Cinna, of Corneille censured, i. 280. 372. 392.
'Circle, its beauty, i. 174.
Circumstances, in a period, where they should be placed, ii. 46. 51.
Class, all living creatures distributed into classes, ii. 363.
Climax, in sense, i. 194. 373. ii. 55. In sound, ii. 15. When these
are joined, the sentence is delightful, ii. 69.
Coëphores, of Eschylus censured, i. 344.
Coexistent emotions and passions, i. 114, &c.
Colonnade, where proper, ii. 339.
Colour, gold and silver esteemed for their beautiful colours, i. 172.
A secondary quality, i. 100. Natural colours, i. 270. Colouring of
the human face, exquisite, i. 270.
Columns, every column ought to have a base, i. 156. The base ought
to be square, i. 156. Columns admit different proportions, ii. 343.
345. What emotions they raise, ii. 346. Column more beautiful
than a pilaster, ii. 352. Its form, ii. 352. Five orders of columns,
ii. 353. Capital of the Corinthian order censured, ii. 355.
Comedy, double plot in a comedy, ii. 293. Modern manners do best
in comedy, ii. 280. Immorality of English comedy, i. 60.
Comet, motion of the comets and planets compared with respect to
beauty, i. 213.
Commencement, of a work ought to be modest and simple, ii. 239.
Common nature, in every species of animals, i. 101. ii. 362. We have
a conviction that this common nature is invariable, ii. 363. Also
that it is perfect or right, i. 101. ii. 363.
Common sense, ii. 365. 372.
Communication of passion to related objects. See Passion.
Communication of qualities to related objects. See Propensity.
Gomparison, i. 233, &c. cp. XIX. In the early composition of all na-
tions, comparisons are carried beyond proper bounds, ii. 136. Com-
parisons that resolve into a play of words, ii. 161.
Complex emotion, i. 114, &c.
Complex object, its power to generate passion, i. 75. 203.
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