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muner in architecture, 119. The si- | Basc, of a column, 462.
tuation of a great house ought to be Basso-relievo, 460.
lofty, 166. A playhouse or a music- Batrachomuomachia, censured, 179
room susceptible of much ornament, Beauty, ch. iii. Intrinsic and relative,
167. What emotions can be raised 103. 449. Beauty of simplicity, 104.
by architecture, 443. Its emotions of figure, ib., of the circle, 105. of the
compared with those of gardening, ib. square, ib., of a regular polygon, 106.
Every building ought to have an ex of a parallelogram, ib., of an equila-
pression suited to its destination, 444.

teral triangle, ib. Whether beauty is
457. Simplicity ought to be the go a primary or secondary quality of ob-
verning taste, 443. Regularity to be jects, 107. Beauty distinguished from
studied, 445. 451. External form of grandeur, 110. Beauty of natural
dwelling-houses, 452, 453. Divisions

colors, 161. Beauty distinguished
within, 453.458, 459. A palace ought from congruity, 166. Consummate
to be regular, but in a small house beauty seldom produces a constant
convenience ought to be preferred, lover, 199. Wherein consists the
452, 453. A dwelling-house ought to beauty of the human visage, 204.
be suited to the climate, 454. Con Beauty proper and figurative, 482.
gruily ought to be studied, 457. Ar- Behavior, gross and refined, 62.
chitecture governed by principles that Belief, of the reality of external objects,
produce opposite effects, 459, 460. 51.' Enforced by a lively narrative,
Different ornaments employed in it, or a good historical painting, 56, 57.
459, 460. Witicisms in architecture, Influenced by passion, 87. 361. In-
464. Allegorical or emblematical or fluenced by propensity, 88. Influ-
numents, ib. Architecture inspires a enced by affection, ib.

taste for neatness and regularity, 465. Benevolence operates in conjunction
dariosto, censured, 160. 430.

with self-love to make us happy, 97.
deristæus, the episode of Aristæus in the Benevolence inspired by gardening,
Georgics censured, 323.

Aristotle, censured, 477, note.

Berkeley, censured, 477, note.
Army, defined, 488.

Blank verse, 298. 315. Its aptitude for
Arrangement, the best arrangement of inversion, 317. Its melody, ib. How

words is to place them if possible in far proper in tragedy, 428.
an increasing series, 252. Arrange- Body, defined, 475.
ment of members in a period, ib. Of Boileau, censured, 360. 417.
periods in a discourse, 253. Ambi- Bombast, 124. Bombast in action, 126.
guity from wrong arrangement, 270. Bossu, censured, 432, note.
273. Arrangement natural and in- Burlesque, machinery does well in a
verted, 280, 281.

burlesque poem, 59. Burlesque dis-
Articulate sounds, how far agreeable, tinguished into two kinds, 179.
218. 250.

Business, men of middle age best quali-
Artificial mount, 448.

fied for it, 152.
Arts. See Fine Arts
Ascent, pleasant, but descent not pain- Cadence, 287. 292.
ful, 114.

Capital, of a column, 463.
Athalie, of Racine censured, 31. Careless husband, its double plot well
Attention, defined, 484. Impression contrived, 426.

made by objects depends on the degree Cascade, 129.
of attention, ib. Attention not always Cause, resembling causes may produce
voluntary, 485.

effects that have no resemblance; and
Attractive passions, 210.

causes that have no resemblance
Attractive objects, 97.

may produce resembling effects, 283
Atractive signs of passion, 210.

Cause, defined, 488.
Auributes, transferred by a figure of Chance, the mind revolts against misfor

speech from one subject to another, tunes that happen by chance, 418.
365, &c.

Character, to draw a character is the
Avarice, defined, 29.

master-stroke of description, 397, 398.
Avenue, to a house, 448.

Characteristics, of Shaftsbury oriticiscu,
Aversion, defined, 65. 195.

167, noie.

Children, love to them accounted for, 43.
Bacchius, 324.

A child can discover a passion from
Bajazei, of Racine censured, 241.

its external signs, 211. Hides none
Barren scene, defined, 431.

of its emotions, 215

Chinese, gardens, 450. Wonder and Complexion, what colour of dress is the
surprise studied in them, 451.

most suitable to different complexions,
Choreus, 323.

Choriambus, 324.

Conception, defined, 475.
Chorus, an essential part of the Grecian Concord, or harmony in objects of
tragedy, 433.

sight, 69.
Church, what ought to be its form and Concordant sounds, defined, 67.
situation, 458.

Congreve, censured, 37. 180. 207. nole.
Cicero censured, 280. 287. 290.

Cid, of Corneille censured, 221. 233. Congruity and propriety, chap. x. A
Cinna, of Corneille censured, 168. 219. secondary relation, 165, note. Core

gruity distinguished from beauty, 166.
Circle, its beauty, 105.

Distinguished from propriety, ib. As
Circumstances, in a period, where they to quantity, congruity coincides with
should be placed, 273. 275.

proportion, 170.
Class, all living creatures distributed Connection essential in all composi-
into classes, 470, 471.

tions, 23.
Climax, in sense, 116. 220. 278. In Conquest of Granada, of Dryden cen-

sound, 253. When these are joined, sured, 234.

the sentence is delightful, 286. Consonants, 249.
Caphores, of Eschylus censured, 203, Constancy, consummate beauty the
Coexistent emotions and passions,67,&c. cause of inconstancy, 199.
Colonnade, where proper, 454. Construction, of language explained,
Color, gold and silver esteemed for their 264, &c.

beautiful colors, 104. A secondary Contemplation, when painful, 156.
quality, 59. Natural colors, 161. Co- Contempt, raised by improper action,

Joring of the human face, exquisite, ib. 138.
Columns, every column ought to have a Contrast, chap. viii. Its effect in lan-
base, 94.

The base ought to be guage, 251. In a series of objects,
square, 95. Columns admit different 252. Contrast in the thought requires
proportions, 456—158.

What emo contrast in the members of the expres-
iions they raise, 458. Column more sion, 251. The effect of contrast in
beautiful than a pilaster, 462. Its gardening, 450.
form, ib. Five orders of columns, ib. Conviction, intuitive. See Intuitive Con-
Capital of the Corinthian order cen viction.
sured, 463.

Copulative, to drop the copulative en-
Comedy, double plot in a comedy, 425, livens the expression, 264, &c.

426. Modern manners do best in Coriolanus, of Shakspeare censured,
comedy, 420. Immorality of English 234.
comedy, 36.

Corneille, censured, 219. 229. 240.243.
Comet, motion of the comets and planets Corporeal pleasure, 11–13. Low and

compared with respect to beauty, 128. sometimes mean, 174.
Commencement, of a work ought to bc Couplet, 298. Rules for its composi-
modest and simple, 39.

tion, 316.
Common nature, in every species of Courage, of greater dignity than jus-

animals, 60.467. We have a convic tice, 174.
tion that this common nature is inva-Creticus, 324.
riable, 468. Also that it is perfect or Criminal, the hour of execution seems to
right, 60. 468.

him to approach with a swift pace, 89.
Common sense, 467. 473.

Criticism, its advantages, 14, 15. Its
Communication of passion to related terms not accurately defined, 212.
objects. See Passion.

Crowd, defined, 485.
Communication of qualities to related Curiosity, 131. 139, &c.
objects. See Propensity.

Custom and habit, ch. xiv. Renders
Comparison, 140, &c. ch. xix. In the objects familiar, 131. Custom distin-

early composition of all nations, com guished from habit, 193, Custom
parisons are carried beyond proper puts the rich and poor upon a level,
hounds, 3:25. Comparisons that re 201. Taste in the fine arts improved

solve into a play of words, 343. by custom, 472, note.
Complex emotion, 68, &c.
Complex object, its power to generate Dactyle, 324.
passion, 45. 122.

Davila, censured, 159.
Complex perception, 479.

Declensions, explained, 267.

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Dedications. See Epistles Dedicatory. ib., of those that respect otlus, ib.
Delicacy, of taste, 61. 472.

Duty of acting up to the dignity o!
Derision, 169. 179.

our nature, 173. 175.
Des Cartes, censured, 477, note. Dwelling-house, its external form, 452,
Descent, not painful, 114.

&c. Internal form, 453. 458.
Description, it animates a description to

represent things past as present, 55. Education, promoted by the fine arts, 14.
The rules that ought to govern it,

451. Means to promote in young per.
392, &c. A lively description is sons a habit of virtue, 40.
agreeable, though the subject describ- Effects, resembling effects may be pro-
ed be disagreeable, 409. No objects duced by causes that have no resem-
but those of sight can be well des blance, 283.
cribed, 480.

Effect, defined, 488.
Descriptive personifications, 351. Efficient cause, of less importance than
Descriptive tragedy, 217.

the final cause, 175.
Desire, defined, 29. It impels us to ac- Electra, of Sophocles censured, 204.

tion, 31. It determines the will, 96. Elevation, 110, &c. Real and figurative
Desire in a criminal to be punished, intimately, connected, 114. Figura-
99. Desire tends the most to happi tive elevation distinguished from figu-
ness when moderate, 108.

rative grandeur, 333, 334.
Dialogue,dialogue writing requires great Emotion, what feelings are termed emo-

genius, 216, &c. In dialogue every tions, 26. Emotions defined, 27, &c.
expression ought to be suited to the And their causes assigned, 28. Dis-
character of the speaker, 404. Dia tinguished from passions, 30. Emo-
logue makes a deeper impression than tion generated by relations, 41, &c.
narration, 415. Qualified for express Emotions expanded upon related ob-
ing sentiments, 416. Rules for it, jects, 41, &c. 275. 283. 309. 349, 350.
427, &c.

380. Emotions distinguished into pri-
Dignity and grace, chap. xi. Dignity mary and secondary, 43. Raised by
of human nature, 469.

fiction, 50, &c. Raised by painting,
Diiambus, 324.

54. Emotions divided inio pleasant
Diphthongs, 249.

and painful, agreeable and disagree-
Disagreeable emotions and passions, able, 59, &c. 480. The interrupted ex-
58, &c.

istence of emotions, 63, &c.' Their
Discordant sounds, defined, 68.

growth and decay, 64, &c. Their
Dispondeus, 324.

identity, ib. Coexistent emotions, 67,
Disposition, defined, 483.

&c. Emotions similar and dissimilar,
Dissimilar emotions, 68. Their effects 68. Complex emotions, 69, 70. Ef

when coexistent, 71. 444. 450.457. fects of similar coexistent emotions,
Dissimilar passions, their effects, 76. 69. 457. Effects of dissimilar coex-
Dissocial passions, 33. All of them istent emotions, 71, 441. Influence of

painful, 59. and also disagreeable, 60. emotions upon our perceptions, opi-
Distance, the natural method of com nions, and belief, 82, &c. 92, 93. 144.

puting the distance of objects, 92, &c. 146. 317. 359. 361. 365, &c. Emo-
Errors to which this computation is tions resemble their causes, 94, &c.
liable, 455. 459.

Emotions of grandeur, 109, &c., rf
Ditrochæus, 324.

sublimity, 110. A low emotion, 115.
Door, its proportion, 452.

Emotion of laughter, ch. vii., of ridi-
Double action, in an epic poem, 430. cul, 138. Emotions when contrasted
Double Dealer, of Congreve censured, should not be too slow nor too quick
231. 431.

in their succession, 149. Emotions
Double plot, in a dramatic composition, raised by the fine arts ought to be con-

trasted in succession, ib. Emotion of
Drama, ancient and modern compared, congruity, 165, &c., of propriety, 167.
432, &c.

Emotions produced by human actions,
Dramatic poetry, ch. xxii.

172. Ranked according to their dige
Drapery, onght to hang loose, 95. nity, 173. External signs of emo-
Dress, rules about dress, 167. 443. tions, ch. xv. Attractive and repul-
Dryden, censured, 375. 427. 431.

sive emotions, 210. What emotions
Duties, moral duties distinguished into do best in succession, what in con-

those which respect ourselves and junction, 444. What emotions are
those which respect others, 170. Foun raised by the productions of manu
dation of duties that respect ourselves, factures, 451, note. Man is passive


with regard to his emotions, 475. sion, what emotions they raise in a
We are conscious of emotions as in

spectator, 209.
the heart, ib.

Eye-sight, influenced by passion, $3.
Emphasis, defined, 309, note. Ought

144, 145.
never to be but upon words of im-
portance, 287. 310.

Face, though uniformity prevail in the
Eneid, its unity of action. See Virgil. human face, yet every face is distin-
English plays, generally irregular, 439. guishable from another, 163.

English comedies generally licen- Faculty, by which we know passion
tious, 36.

from its external signs, 214.
English tongue, too rough, 251. In Fairy Queen, criticised, 373.

English words the long syllable is put False quantity, painful to the 299.
early, 250, note. English tongue more Fame, love of, 101.
grave and sedate in its tone than the Familiarity, its effect, 64. 131. 380.,
French, 311, note. Peculiarly quali- wears oil by absence, 134.

fied for personification, 350, note. Fashion, its influence accounted for, 42.
Entablature, 461.

Fashion is in a continual flux, 107.
Envy, defined, 30. How generated, 65. Fear, explained, 47, &c. Rises often to

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:
Epic poem, no improbable fact ought to sion, ib. Fear is infectious, 95.
be admitted, 57. Machinery in it has Feeling, its different significations, 476.
a bad effect, ib. It doth not always Fiction, emotions raised by fiction, 50,
reject ludicrous images, 151. Its com- &c.
mencement ought to be modest and Figure, beauty of, 104. Definition of a
simple, 392. In what respect it dif- regular figure, 481.
fers from a tragedy, 414. Distin- Figures, some passions favourable to
guished into pathetic and moral, 415. figurative expression, 237. 335.
Its good effects, 417. Compared with Figures, ch. xx. Figure of speech, 353.
tragedy as to the subjects proper for 370. 379, &c. Figures were of old
each, 416. How far it may borrow much strained, 325. 372.
from history, 419. Rule for dividing Final cause, defined, 175. Final cause
it into parts, 420.

of our sense of order and connection,
Epic poetry, ch. xxii.

26., of the sympathetic emotion of
Epicurus, censured, 477, note.

virtue, 40., of the instinctive passion
Episode, in an historical poem, 424. of fear, 48., of the instinctive passion
Requisites, 425.

of anger., 50., of ideal presence, 52,
Epistles dedicatory, censured, 165, &c., of the power that fiction has over

the mind, 51., of emotions and pas-
Epithets, redundant, 407.

sions, 96, &c., of the communication
Epitritus, 324.

of passion to related objects, 101., of
Essays on man, criticised, 322.

regularity, uniformity, order, and sim-
Esteem, love of, 101. 118.

plicity, 101.

, of proportion, ib., of
Esther, of Racine censured, 231. 233. beauty, 108.' Why certain objects are
Eunuch, of Terence censured, 242. 439. neither pleasant nor painful, 113. 127.,
Euripides, censured, 242. 438.

of the pleasure we have in motion
Evergreens, cut in the shape of animals, and force, 130., of curiosity, 131., of

wonder, 136., of surprise, ib., of the
Effect of experience with respect to taste principle that prompts us to perfect
in the fine arts, 472, note.

every work, 147., of the pleasure or
Expression, elevated, low, 115. Ex-

pain that results from the different
pression that has no distinct meaning, circumstances of a train of percep-
246. Members of a sentence ex- tions, 157, &c., of congruity and pro-
pressing a resemblance betwixt two priety, 170, &c., of dignity and mean-
objects, ought to resemble each other, ness, 175, &c., of habit, 201, &c., of
261, &c. Force of expression by the external signs of passion and emo-
suspending the thought till the close, tion, 211, &c. Why articulate sounds

singly agreeable are always agree-
External objects, their reality, 51. able in conjunction, 249., of the plea-
External senses, distinguished into two
kinds, 11. External sense, 474.

sure we have in language, 409., of our

relish for various proportions in quan-
External signs, of emotions and pas-
sions, ch. xv.

tily, 455. Why delicacy of taste is
External signs of pas- withheld from ihe bulk of mankind,

taste, 413

arts, 412.

467., of our conviction of a common raised by it, 412. Its emotions com-
standard in every species of beings, pared with those of architecture, ib.
469., of uniformity of taste in the fine Simplicity ought to be the governing
arts, 469, 470. Why the sense of a

Wherein the unity of a
right and a wrong in the fine arts is yarden consists, 41. How far should
less clear than the use of a right and regularity be studied in it, 445. Re-
a wrong in actions, 471. Final cause semblance carried too far in it, 415,
of greater importance than the effi nnte. Grandeur in gardening, ib.
cient cause, 175.

Every unnatural object ought to be
Fine arts, defined, 12. 16. A subject of rejected, 446. Distant and faint imi-

reasoning, 14. Education, promoted tations displease, 447. Winter-gar-
by the fine arts, 14, 15. 451. The den, 450. The effect of giving play
fine arts a great support to morality, to the imagination, 451. Garden-
13. 452. 465, &c. Their emotions ing inspires benevolence, ib. And
ought to be contrasted in succession, contributes to rectitude of manners,
149. Uniformity and variety in the 465.
fine arts, 159. Considered with res- General idea; there cannot be such thing,
pect to dignity, 175. How far they 178, note.
may be regulated by custom, 202. General terms, should be avo-ded in com-
None of them are imitative but paint positions for amusement, 1:22. 104.
ing and sculpture, 247. Aberrations General theorems, why agreeable, 107.
from a true iaste in these arts, 470. Generic habit, defined, 193.
Who qualified to be judges in the fine Generosity, why of greater dignity than

justice, 174.
Fluid, motion of fluids, 128.

Genus, defined, 485.
Foot, the effect that syllables collected Gestures, that accompany the different

into feet have upon the ear, 265. passions, 205, &c.
Musical feet defined, 293, note. A Gierusalemme Liberata, censured, 422,
list of verse-feet, 323, 324.

Force, produces a feeling that resembles Globe, a beautiful figure, 160.
it, 93. Force, ch. v.

Good-nature, why of less dignity than
Moving force, 1:28. Force gives a plea courage or generosity, 174.

sure differing from that of motion, Gothic tower, its beauty, 158. Gothic

129. It contributes to grandeur, 130. form of buildings, 464.
Foreign, preference given to foreign cu- Government, natural foundation of sub-
riosities, 135.

mission to government, 100.
Fountains, in what form they ought to Grace, ch. xi. Grace of motion, 128.
be, 4.18.

Grace analyzed, 177, &c.
French dramatic writers, criticised, 219. Grandeur and sublimity, ch. iv. Dis-
232. 439, nole.

tinguished from beauty, 110. Gran-
French verse, requires rhyme, 322. deur demands not strict regularity,
French language, more lively to the ear 11. Regularity, order, and propor-

than the English, 311, note. In French tion, contribute to grandeur, ib. Real
words the last syllable generally long and figurative grandeur intimately
and accented, ib. nole.

connected, 114. Grandeur of mannor,
Friendship, considered with respect to 149. Grandeur may be employed in-
dignity and meanness, 173.

directly to humble the mind, 124.

Suits ill with wit and ridicule, 160
Gallery, why it appears longer than it is Fixes the attention, 163. Figurais

in reality, 446. Is not an agreeable grandeur distinguished from figura
figure of a room, 457.

tive elevation, 333. Grandeur in yar
Games, public games of the Greeks, 129. dening, 445. Irregularity and dispro-
Gardening, a fine garden gives lustre to portion increase in appearance the

the owner, 43, note. Grandeur of size of a building, 459.
manner in gardening, 122. Its emo- Gratification, of passion, 32. 35. 80. 86.
tions ought to be contrasted in succes 348. 359. 361, &c. Obstacles to gra-
sion, 149 A small garden should be tification inflame a passion, 65.
confined to a single expression, 150. Gratitude, considered with respect to its
412. A garden near a great city gratification, 64. Exerted upon the
should have an air of solitude, 150. children of the benefactor, 84. Pue
A garden in a wild country should be nishment of ingratitude, 171. Gratis
gay and splendid, ib. Gardening, tude considered with respect to dig.
ch. xxiv. What emotions can be nity and meanness, 175.

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