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muner in architecture, 119. The si- | Basc, of a column, 462.
teral triangle, ib. Whether beauty is
colors, 161. Beauty distinguished
taste for neatness and regularity, 465. Benevolence operates in conjunction
with self-love to make us happy, 97.
Berkeley, censured, 477, note.
Blank verse, 298. 315. Its aptitude for
words is to place them if possible in far proper in tragedy, 428.
burlesque poem, 59. Burlesque dis-
Business, men of middle age best quali-
fied for it, 152.
Capital, of a column, 463.
made by objects depends on the degree Cascade, 129.
effects that have no resemblance; and
causes that have no resemblance
may produce resembling effects, 283
Cause, defined, 488.
speech from one subject to another, tunes that happen by chance, 418.
Character, to draw a character is the
master-stroke of description, 397, 398.
Characteristics, of Shaftsbury oriticiscu,
Children, love to them accounted for, 43.
A child can discover a passion from
its external signs, 211. Hides none
of its emotions, 215
Chinese, gardens, 450. Wonder and Complexion, what colour of dress is the
most suitable to different complexions,
Conception, defined, 475.
Congreve, censured, 37. 180. 207. nole.
gruity distinguished from beauty, 166.
Distinguished from propriety, ib. As
sound, 253. When these are joined, sured, 234.
the sentence is delightful, 286. Consonants, 249.
beautiful colors, 104. A secondary Contemplation, when painful, 156.
Joring of the human face, exquisite, ib. 138.
The base ought to be guage, 251. In a series of objects,
What emo contrast in the members of the expres-
Copulative, to drop the copulative en-
426. Modern manners do best in Coriolanus, of Shakspeare censured,
Corneille, censured, 219. 229. 240.243.
compared with respect to beauty, 128. sometimes mean, 174.
animals, 60.467. We have a convic tice, 174.
him to approach with a swift pace, 89.
Criticism, its advantages, 14, 15. Its
Crowd, defined, 485.
Custom and habit, ch. xiv. Renders
early composition of all nations, com guished from habit, 193, Custom
solve into a play of words, 343. by custom, 472, note.
Davila, censured, 159.
Declensions, explained, 267.
Dedications. See Epistles Dedicatory. ib., of those that respect otlus, ib.
Duty of acting up to the dignity o!
our nature, 173. 175.
&c. Internal form, 453. 458.
represent things past as present, 55. Education, promoted by the fine arts, 14.
451. Means to promote in young per.
Effect, defined, 488.
the final cause, 175.
tion, 31. It determines the will, 96. Elevation, 110, &c. Real and figurative
rative grandeur, 333, 334.
genius, 216, &c. In dialogue every tions, 26. Emotions defined, 27, &c.
380. Emotions distinguished into pri-
fiction, 50, &c. Raised by painting,
54. Emotions divided inio pleasant
and painful, agreeable and disagree-
istence of emotions, 63, &c.' Their
growth and decay, 64, &c. Their
identity, ib. Coexistent emotions, 67,
&c. Emotions similar and dissimilar,
when coexistent, 71. 444. 450.457. fects of similar coexistent emotions,
painful, 59. and also disagreeable, 60. emotions upon our perceptions, opi-
puting the distance of objects, 92, &c. 146. 317. 359. 361. 365, &c. Emo-
Emotions of grandeur, 109, &c., rf
sublimity, 110. A low emotion, 115.
Emotion of laughter, ch. vii., of ridi-
in their succession, 149. Emotions
trasted in succession, ib. Emotion of
Emotions produced by human actions,
172. Ranked according to their dige
sive emotions, 210. What emotions
those which respect ourselves and junction, 444. What emotions are
with regard to his emotions, 475. sion, what emotions they raise in a
Eye-sight, influenced by passion, $3.
Face, though uniformity prevail in the
English comedies generally licen- Faculty, by which we know passion
from its external signs, 214.
English words the long syllable is put False quantity, painful to the 299.
fied for personification, 350, note. Fashion, its influence accounted for, 42.
Fashion is in a continual flux, 107.
Why it is perpetual, 66. It magni- its utmost pitch in an instant, 65.
fies every bad quality in its object, 84. Fear arising from affection or aver:
of our sense of order and connection,
26., of the sympathetic emotion of
virtue, 40., of the instinctive passion
of anger., 50., of ideal presence, 52,
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-
, of proportion, ib., of
of the pleasure we have in motion
wonder, 136., of surprise, ib., of the
every work, 147., of the pleasure or
pain that results from the different
singly agreeable are always agree-
sure we have in language, 409., of our
relish for various proportions in quan-
tily, 455. Why delicacy of taste is
467., of our conviction of a common raised by it, 412. Its emotions com-
Wherein the unity of a
Every unnatural object ought to be
reasoning, 14. Education, promoted tations displease, 447. Winter-gar-
Genus, defined, 485.
into feet have upon the ear, 265. passions, 205, &c.
Good-nature, why of less dignity than
sure differing from that of motion, Gothic tower, its beauty, 158. Gothic
129. It contributes to grandeur, 130. form of buildings, 464.
mission to government, 100.
Grace analyzed, 177, &c.
tinguished from beauty, 110. Gran-
than the English, 311, note. In French tion, contribute to grandeur, ib. Real
connected, 114. Grandeur of mannor,
directly to humble the mind, 124.
Suits ill with wit and ridicule, 160
in reality, 446. Is not an agreeable grandeur distinguished from figura
tive elevation, 333. Grandeur in yar
the owner, 43, note. Grandeur of size of a building, 459.