with regard to his emotions, 475. We are conscious of emotions as in the heart, ib. Emphasis, defined, 309, note. Ought never to be but upon words of im- portance, 287. 310.
Eneid, its unity of action. See Virgil. English plays, generally irregular, 439. English comedies generally licen- tious, 36.
English tongue, too rough, 251. In English words the long syllable is put early, 250, note. English tongue more grave and sedate in its tone than the French, 311, note. Peculiarly quali- fied for personification, 350, note. Entablature, 461.
Envy, defined, 30. How generated, 65. Why it is perpetual, 66. It magni- fies every bad quality in its object, 84. Epic poem, no improbable fact ought to be admitted, 57. Machinery in it has a bad effect, ib. It doth not always reject ludicrous images, 151. Its com- mencement ought to be modest and simple, 392. In what respect it dif- fers from a tragedy, 414. Distin- guished into pathetic and moral, 415. Its good effects, 417. Compared with tragedy as to the subjects proper for each, 416. How far it may borrow from history, 419. Rule for dividing it into parts, 420. Epic poetry, ch. xxii. Epicurus, censured, 477, note. Episode, in an historical poem, 424. Requisites, 425.
Epistles dedicatory, censured, 165,
Epithets, redundant, 407. Epitritus, 324.
Essays on man, criticised, 322. Esteem, love of, 101. 118.
Esther, of Racine censured, 231. 233. Eunuch, of Terence censured, 242. 439. Euripides, censured, 242. 438. Evergreens, cut in the shape of animals, 447.
Effect of experience with respect to taste in the fine arts, 472, note. Expression, elevated, low, 115.
pression that has no distinct meaning, 246. Members of a sentence ex- pressing a resemblance betwixt two objects, ought to resemble each other, 261, &c. Force of expression by suspending the thought till the close, 279.
External objects, their reality, 51. External senses, distinguished into two kinds, 11. External sense, 474. External signs, of emotions and pas- sions, ch. xv. External signs of pas-
sion, what emotions they raise in a spectator, 209.
Eye-sight, influenced by passion, 93. 144, 145.
Face, though uniformity prevail in the human face, yet every face is distin- guishable from another, 163. Faculty, by which we know passion from its external signs, 214. Fairy Queen, criticised, 373. False quantity, painful to the ear, 299. Fame, love of, 101.
Familiarity, its effect, 64. 131. 380., it wears off by absence, 134. Fashion, its influence accounted for, 42. Fashion is in a continual flux, 107. Fear, explained, 47, &c. Rises often to its utmost pitch in an instant, 65. Fear arising from affection or aver- sion, ib. Fear is infectious, 95. Feeling, its different significations, 476. Fiction, emotions raised by fiction, 50, &c.
Figure, beauty of, 104. Definition of a regular figure, 481.
Figures, some passions favourable to figurative expression, 237. 335. Figures, ch. xx. Figure of speech, 353. 370. 379, &c. Figures were of old much strained, 325. 372.
Final cause, defined, 175. Final cause of our sense of order and connection, 26., of the sympathetic emotion of virtue, 40., of the instinctive passion of fear, 48., of the instinctive passion of anger., 50., of ideal presence, 52, &c., of the power that fiction has over 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- plicity, 104., of proportion, ib., of beauty, 108. Why certain objects are neither pleasant nor painful, 113. 127., of the pleasure we have in motion and force, 130., of curiosity, 131., of wonder, 136., of surprise, ib., of the principle that prompts us to perfect every work, 147., of the pleasure or pain that results from the different circumstances of a train of percep- tions, 157, &c., of congruity and pro- priety, 170, &c., of dignity and mean- ness, 175, &c., of habit, 201, &c., of the external signs of passion and emo- tion, 211, &c. Why articulate sounds singly agreeable are always agree- able in conjunction, 249., of the plea- sure we have in language, 409., of our relish for various proportions in quan- tity, 455. Why delicacy of taste is withheld from the bulk of mankind,
467., of our conviction of a common standard in every species of beings, 469., of uniformity of taste in the fine arts, 469, 470. Why the sense of a right and a wrong in the fine arts is less clear than the use of a right and a wrong in actions, 471. Final cause of greater importance than the effi- cient cause, 175.
Fine arts, defined, 12. 16. A subject of reasoning, 14. Education, promoted by the fine arts, 14, 15. 451. The fine arts a great support to morality, 13. 452. 465, &c. Their emotions ought to be contrasted in succession, 149. Uniformity and variety in the fine arts, 159. Considered with res- pect to dignity, 175. How far they may be regulated by custom, 202. None of them are imitative but paint- ing and sculpture, 247. Aberrations from a true taste in these arts, 470. Who qualified to be judges in the fine arts, 472.
Fluid, motion of fluids, 128. Foot, the effect that syllables collected into feet have upon the ear, 265. Musical feet defined, 293, note. A list of verse-feet, 323, 324. Force, produces a feeling that resembles it, 93. Force, ch. v. Moving force, 128. Force gives a plea- sure differing from that of motion, 129. It contributes to grandeur, 130. Foreign, preference given to foreign cu- riosities, 135.
Fountains, in what form they ought to be, 448.
French dramatic writers, criticised, 219. 232. 439, note.
French verse, requires rhyme, 322. French language, more lively to the ear than the English, 311, note. In French words the last syllable generally long and accented, ib. note. Friendship, considered with respect to dignity and meanness, 1773.
Gallery, why it appears longer than it is
in reality, 446. Is not an agreeable figure of a room, 457.
Games, public game's of the Greeks, 129. Gardening, a fine garden gives lustre to the owner, 43, note. Grandeur of manner in gardening, 122. Its emo- tions ought to be contrasted in succes- sion, 149. A small garden should be confined to a single expression, 150. 442. A. garden near a great city should have an air of solitude, 150. A garden in a wild country should be gay and splendid, ib. Gardening, ch. xxiv. What emotions can be
raised by it, 442. Its emotions com- pared with those of architecture, ib. Simplicity ought to be the governing taste, 443. Wherein the unity of a garden consists, 444. How far should regularity be studied in it, 445. Re- semblance carried too far in it, 445, note. Grandeur in gardening, ib. Every unnatural object ought to be rejected, 446. Distant and faint imi- tations displease, 447. Winter-gar- den, 450. The effect of giving play to the imagination, 451. Garden- ing inspires benevolence, ib. And contributes to rectitude of manners, 465.
General idea, there cannot be such thing, 478, note.
General terms, should be avoided in com- positions for amusement, 122. 404. General theorems, why agreeable, 107. Generic habit, defined, 198. Generosity, why of greater dignity than justice, 174.
Gestures, that accompany the different passions, 205, &c. Gierusalemme Liberata, censured, 422,
Globe, a beautiful figure, 160. Good-nature, why of less dignity than
courage or generosity, 174. Gothic tower, its beauty, 458. Gothic form of buildings, 464. Government, natural foundation of sub- mission to government, 100. Grace, ch. xi. Grace of motion, 128. Grace analyzed, 177, &c. Grandeur and sublimity, ch. iv. Dis- tinguished from beauty, 110. Gran- deur demands not strict regularity, 111. Regularity, order, and propor- tion, contribute to grandeur, ib. Real and figurative grandeur intimately connected, 114. Grandeur of manner, 149. Grandeur may be employed in- directly to humble the mind, 124. Suits ill with wit and ridicule, 150. Fixes the attention, 163. Figurative grandeur distinguished from figura- tive elevation, 333. Grandeur in gar- dening, 445. Irregularity and dispro- portion increase in appearance the size of a building, 459. Gratification, of passion, 32. 35. 80. 86. 348, 359. 861, &c. Obstacles to gra- tification inflame a passion, 65. Gratitude, considered with respect to its gratification, 64. Exerted upon the children of the benefactor, 84. Pu- nishment of ingratitude, 171. Grati- tude considered with respect to dig- nity and meanness, 175.
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.
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, 480.482. Agreeableness of ideas of imagina- tion, 482.
Imitation, we naturally imitate virtu- ous actions, 95. Not those 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 displease, 447.
Impression, made on the organ of sense, 11.476. Successive impressions, 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, 252. Infinite series, becomes disagreeable when prolonged, 146, note. Innate idea, there cannot be such a thing, 478, note.
Instinct, we act sometines 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, it. 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 sentiment, 243. Of language too artificial or too figura- tive, 244., too light or airy, 245. Lan- guage how far imitative, 247. 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. Is 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. 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,
Manufactures, the effect of their produc- tions with respect to morality, 451,
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-
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.
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. Up- 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 be musical, ib. note. What variety pro- per, 157. Music betwixt the acts of a play, the advantages that may be
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