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Plautus, the liberty he takes as to place the blunders ang absurdities of others,
and time, 439.

169., a pleasant passion, 169, 170.,
Play, is a chain of connected facts, each considered with respect to dignity and
scene making a link, 431.

meanness, 175. Its external expres-
Play of words, 189, &c. 245, &c., gone sions or signs disagreeable, 210.

into disrepute, 190. Comparisons Primary, and secondary qualities 01
that resolve into a play of words, matter, 107. Primary and secondary
343, &c.

relations, 165, note.
Pleasant emotions and passions, 59, Principle of order, 22., of morality,

&c. Social passions more pleasant 28. 40. 168, &c., of self-preservation,
than the selfish, 176. Pleasant pain 47., of selfishness, 97., of benevo-
explained, 69.

lence, ib., &c., of punishment, 100.
Pleasure, pleasures of seeing and hear- 169. Principle that makes us fond of

ing distinguished from those of the esteem, 100. 118., of curiosity, 131.
other senses, 11, &c., pleasure of or- 139., of habit, 200, 201. Principle that
der, 22, &c., of connection, 22. Plea- makes us wish cthers to be of our
sures of taste, touch, and smell, not opinion, 468, 469. Principle de
termed emotions or passions, 26. fined, 483., sometimes so enlivened as
Pleasure of a reverie, 53. 156. Plea- to become an emotion, 40. See Pro-
sures refined and gross, 62. Pleasure pensity.
of a train of perceptions in certain Principles of the fine arts, 14.
circumstances, 155, &c. Corporeal Proceleusmaticus, 324.
pleasure low, and sometimes mean, Prodigies, find ready credit with the
174. Pleasures of the eye and ear vulgar, 88.
never low or mean, ib. Pleasures of Prologue, of the ancient tragedy, 433.
the understanding are high in point of Pronoun, defined, 274.
dignity, 175. Custom augments mo- Pronunciation, rules for it, 283, &c.,
derate pleasures, but diminishes those 287., distinguished from singing, 287.
that are intense, 201. Some pleasures Singing and pronouncing compared,

felt internally, some externally, 481. 288.
Poet, the chief talent of a poet who Propensity, sometimes so enlivened as
deals in the pathetic, 205.

to become an emotion, 40. 65., op-
Poetical flights, in what state of mind posed to affection, 67. Opinion and
they are most relished, 335.

belief influenced by it, 88. Propen-
Puetry, grandeur of manner in poetry, sity to justify our passions and ac-

119, &c. How far variety is proper, tions, 83. Propensity to punish guilt
159. Objects that strike terror have a and reward virtue, 100,* &c. Pro-
fine effeci in it, 410. Objects of hor- pensity to carry along the good or bad
ror ought to be banished from it, 411. properties of one subject to another,
Poetry has power over all the human 42. 95. 103. 247. 275. 283. 295. 309.
affections, 442. The most successful 366. 380. Propensity to complete

in describing objects of sight, 186. every work that is begun, and to carry
Polite behaviour, 62.

things to perfection, 146. 461. Pro-
Polygon, regular its beauty, 106.

pensity to communicate to others every
Polysyllables, how far agreeable to the thing that affects


235. Propensity
ear, 253., seldom have place in the to place together things mutually con-
construction of English verse, 299. nected, 283. Propensity defined, 483.

Sce Principle.
Pompey, of Corneille censured, 225. Properties, transferred from one subject
231, 232.

to another, 42. 95 103. 247. 275. 283.
Poor, habit puts them on a level with 295. 309. 366. 380.
the rich, 201, 202.

Property, the affectinn man bears to his
Pope, excels in the variety of his melo- property, 43. A rerondary relation

dy, 307., censured, 338. 344. 400. 166, note.
His style compared with that of Prophecy, those who believe in prophe-
Swift, 404.

cies wish the accomplishment, 101.
Posture, constrained posture disagree Propriety, ch. x., a secondai y relation
able to the spectator, 95.

165., note., distinguished frem con.
Power of abstraction, 485, 486., its use,

gruity, 166., distinguished from pro-

portion, 170. Proprety in buildings,
Prepositions explained, 270.

457. 458.
Pride, how generated, 64., why it is Proportion, contributes to grandeur,

perpetual, 66. incites us to ridicule 111., distinguished from propriety

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170. As to quantity coincides with gratification, 99.

Punishment pro
congruity, w., examined as applied vided by nature for injustice, 172.,
to architecture, 454. Proportion de- is not mean, 175.
fined, 482.

Repartee, 192.
Prose, distinguished from verse, 289, &c. Repetitions, 406.
Prospect, an unbounded prospect dis- Representation, its perfection lies in

agreeable, 146., note. By what means hiding itself and producing an im-
a prospect may be improved, 446.

pression of reality, 435.
Provoked Husband, censured, 426. Repulsive, object, 97. Repulsive pas-
Pun, defined, 191.

sions, 97. 213.
Punishment, in the place where the Resemblance, and dissimilitude, ch. viii.

crime was committed, 148. Punish- Resemblance in a series of objects,
ment of impropriety, 169, &c.

252. The members of a sentence sig.
Public games, of the Greeks, 129. nifying a resemblance betwixt objects
Phyrrlichus, 323.

ought to resemble each other, 261, &c.

Resemblance betwixt sound and sig.
Qualities, primary and secondary, 107. nification, 282–284. No resemblance

A quality cannot be conceived'inde- betwixt objects of different senses,
vendent of the subject to which it be- 283. Resembling causes may, pro-
longs, 269. Different qualities per- duce effects that have no resemblance,
ceived by different senses, 474, 475. and causes that have no resemblance
Communicated to related objects.

may produce resembling effects, ib.,
See Propensity.

&c. The faintest resemblance be-
Quantity, with respect to melody, 291. twixt sound and signification gives

Quantity with respect to English the greatest pleasure, 284, &c. Re-

verse, 298. False quantity, 299. semblance carried too far in some
Quintilian, censured, 362.

gardens, 445, note.
Quintus Curtius, censured, 222. Resentment, explained, 48, &c.


agreeable in excess, 61. Extended
Racine, criticised, 240. Censured, 243. against relations of the offender, 85.
Rape of the Lock, characterized, 179. Its gratification, 99. When immo-
Its verse admirable, 292.

derate is silent, 236.
Reading, chief talent of a fine reader, Rest, neither agreeable nor disagreeable,

205. Plaintive passions require a 127., explained, 243.
slow pronunciation, 219, note. Rules Revenge, animates hut doth not elevate
for reading, 286, &c., compared with the mind, 118. Has no dignity in it,
singing, 287.

175. When immoderate is silent,
Reality, of external objects, 51.

236., improper, but not mean, 174.
Reason, reasons to justify a favourite Reverie, cause of the pleasure we have

opinion are always at hand, and in it, 53. 156.
much relished, 83.

Rhyme, for what subjects it is proper
Recitative, 290.

322, &c. Melody of rhyme, 322.
Refined pleasure, 61.

Rhythmus, defined, 290.
Regularity, not so essential in great ob- Rich and for put upon a level by ha.

jects as in small, 111., not in a small bit, 201, 202.
work so much as in one t' at is ex- Riches, love of, corrupts the taste, 472.
tensive, ib. How far to be studied in Riddle, 447.
architecture, 442. 445. 454. How far Ridicule, a gro33 pleasure, 62. Is losing
to be studied in a garden, 443, 444. ground in England, ib. Emotion ni
Regular line defined, 481. Regular ridicule, 138. Not concordant with
figure defined, 481. Regularity pro- grandeur, 151. Ridicule, 169, ch.
per and figurative, 482.

xii. Whether it be a test of truth,
Relations, 19. Have an influence in 183.

generating emotions and passions, 42. Ridiculous, distinguished from risible,
&c. Are the foundation of congruity 138.
and propriety, 165., Primary and Right and wrong as to actions, 28.
secondary relations, ib. note. In what Risible objects, ch. vii. Risible distin-
manner are relations expressed in guished from ridiculous, 138.
words, 266, &c. The effect that even Room, its form, 453.
the slighter relations have on the Rubens, censured, 376.
mind, 419.

Ruin, ought not to be seen from a flower-
Kelative beauty, 103. 449.
Remorse, anguish of remorse, 95.,

parterre, 444. In what form it uitght
its to be, 448.

Sallust, censured for want of connec- sions, 221. Sentiments of strong pas
tion, 24.

sions are hid or dissembled, 222. Sen-
Sapphic verse, has a very agreeable timents above the tone of the passion,
modulation, 290.

223., below the tone of the passion,
Savage, knows little of social affec- 225. Sentiinents too gay for a seri-
tion, 62.

ous passion, ib., too artificial for a
Scorn, 169. 179.

serious passion, ib., fanciful or finical,
Sculpture, imitates nature, 217. What 226., discordant with character, 227.,

emotions can be raised by it, 442. misplaced, 229. Immoral sentiments
Secchia Rapita, characterized, 179. expressed without disguise, 230—233.,
Secondary qualities of matter, 107, &c. unnatural, 233. Sentiments both in
Secondary relations, 165, note.

dramatic and epic com.positions ought
Seeing, in seeing we feel no impression, to be subservient to tre action, 420.

476. Objects of sight are all of them Sentiment defined, 480.
complex, 479.

Sentimental music, 74, note
Self-deceit, 83. 230.

Series, from small to great agreeable,
Selfish, passions, 32, 33. Are pleasant, 114. Ascending series, ib. Descend

61. Less refined and less pleasant ing series, ib. The effect of a num-
than the social, 62. The pain of self- ber of objects placed in an increasing
ish passions more severe than of so- or decreasing series, 252.
cial passions, ib. Inferior in dignity Serpentine river, its beauty, 128. 450.
to the social, 176. A selfish emotion Sertorius, of Corneille censured, 220.
arising from a social principle, 32. A Shaft of a column, 462.
selfish motive arising from a social Shakspeare, his sentiments just repre-
principle, 32., note.

sentations of nature, 218., is superior
Selfishness, promoted by luxury, 471., to all other writers in delineating pas-
and also by love of riches, 472.

sions and sentiments, 239, 240., ex-
Self-love, its prevalence accounted for, cels in the knowledge of human na-

34. In excess disagreeable, 60. Not ture, 240, note., deals little in inver-

inconsistent with benevolence, 97. sion, 317., excels in drawing charac-
Semipause, in an hexameter line, 294. ters, 397., his style in what respect

What semipauses are found in an excelient, 404., his dialogue finely
English heroic line, 309.

conducted, 427., deals not in barrer
Sensation, defined, 475., described, 479.

scenes, 431.
Sense, of order, 23, &c., contributes to Shame, arising from affection or aver-

generate emotions, 43, note., and pas- sion, 65., is not mean, 175.
sions, 45. Sense of right and wrong, Sight, influenced by passion, 93. 146.
28. The veracity of our senses, 51. Similar emotions, 68., their effects when
477, note. Sense of congruity or pro- coexistent, 69. 457.
priety, 165., of the dignity of human Similar passions, 68, &c. Effects of co
nature, 173. 469. Sense of ridicule, existent similar passions, 71.
179. Sense by which we discover a Simple perception, 480.
passion from its external signs, 211. Simplicity, taste for simplicity has pro-
Sense of a common nature in every duced many Utopian systems of hu-
species of beings, 60. 467. Sense, in- man nature, 27. Beauty of simpli-
ternal and external, 474. In touch- city, 104., abandoned in the fine arts,
ing, tasting, and smelling, we feel the 107., a great beauty in tragedy, 425.,
impression at the organ of sense, not ought to be the governing taste in gar-
in seeing and hearing, 476.

dening and architecture, 443.
Senses, whether active or passive, 488. Singing, distinguished from pronoun-
Sentence, it detracts from neatness to cing or reading, 287. Singing and

vary the scene in the same sentence, pronouncing compared, 288.
263. A sentence so arranged as to Situation, different situations suited to
express the sense clearly, seems al- different buildings, 458.
ways more musical than where the Sky, the relish of it lost by familiarity,
sense is left in any degree doubtful,

Smelling, in smelling we feel an impres-
Sentiment, elevated, low, 115. Senti- sion upon the organ of sense, 11. 476,

ments, ch. xvi., ought to be suited Smoke, the pleasure of ascending smoke
to the passion, 216. Sentiments ex- accounted for, 128.
pressing swelling of passion, 219., Social passions, 32., more refined and
expressing the different stages of pas- more pleasant than the selfish, 62.
sion, 220. dictated by coexistent pas- The pain of social passions more mild


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per, ib.

than of selfish passions, ib. Social | Substratum, defined, 475.

passions are of greater dignity, 176. Succession, of perceptions and ideas,
Society, advantages of, 101.

19. 152, &c. In a quick succession of
Soliloquy, has a foundation in nature, the most beautiful objects we are
212. Soliloquies, 211, &c.

scarce sensible of any emotion, 53.
Sophocles, generally correct in the dra- Succession of syllables in a word,
matic rules, 438.

249., of objects, 252.
Sounds, power of sounds to raise emo- Superlatives, inferior writers deal ir su-

tions, 33, 35., concordant, 68., dis- perlatives, 367.
cordant, ib., disagreeable sounds, 74., Surprise, the essence of wit, 21. 185.
fit for accompanying certain passions, Instantaneous, 64, 65. 186., decays
74, 75. Sounds produce emotions suddenly, 65. 186., pleasant or painful
tiat resemble them, 91., articulate how according to circumstances, 133, &c.
far agreeable to the ear, 218–250. A Surprise the cause of contrast, 114.,
smooth sound soothes the mind, and a has an influence upon our opinions,
rough sound animates, 251. A con- and even upon our eye-sight, 147.
tinued sound tends to lay us asleep, an Surprise a silent passion, 238. studi-
interrupted sound rouses and ani- ed in Chinese gardens, 451.
mates, 205.

Suspense, an uneasy state, 90.
Space, natural computation of space, Sweet distress, explained, 68.

92, &c. Space explained, 485, 486. Swift, his language always suited to
Species, defined, 485.

his subject, 403., has a peculiar energy
Specific habit, defined, 198.

of style. 404., compared with Pope, ib.
Speech, power of speech to raise emo- Syllable, 248, &c. Syllables considered
tions, whence derived, 53. 56.

as composing words, 249. Syllables
Spondee, 293, 294. 323.

long and short, 250. 292. Many syl-
Square, its beauty, 106. 160.

lables in English are arbitrary, 298.
Stairs, their proportion, 453.

Sympathy, sympathetic emotion of vir-
Standard of taste, ch. xxv. Standard

tue, 40, &c.

The pain of sympathy
of morals, 468-471.

is voluntary, 62. It improves the tem-
Star, in gardening, 445.
Statue, the reason why a statue is not Sympathy, 98., attractive, 93. 212., ne-

coloured, 149. The limbs of a statue ver low nor mean, 174., the cement
ought to be contrasted, 159. An of society, 212.
equestrian statue is placed in a centre Synthetic, and analytic methods of rea-
of streets, that it may be seen from soning compared, 22.
many places at once, 405. Statues
for adorning a building, where to be Tacitus, excels in drawing characters,
placed, 459, 460. Statue of an animal 397., his style comprehensive, 407.
pouring out water, 448., of a water-Tasso, censured, 422. 424.
god pouring water out of his urn, Taste, in tasting we feel an impression
465. * Statues of animals employed upon the organ of sense, 11. 476.
as supports condemned, ib. Naked Taste in the fine arts though natural
statues condemned, 457, note.

requires culture, 13. 472, note. Taste
Steeple, ought to be pyramidal, 159. in the fine arts compared with the
Strada, censured, 392.

moral sense, 13., its advantages, 14,
Style, natural and inverted, 270, &c. 15. Delicacy of taste, 61. 472., a low

The beauties of a natural style, 281., taste, 115. Taste in some measure
of an inverted style, ib. Concise influenced by reflection, 462, note.
style a great ornament, 406.

The foundation of a right and wrong
Subject, may be conceived independent in taste, 466. Taste in the fine arts

of any particular quality, 269. Sub- as weil as in morals corrupted by vo-
ject with respect to its qualities, 474. luptuousness, 471., corrupted by love
486. Subject defined, 488.

of riches, 472. Taste never naturally
Sublimity, ch. iv. Sublime in poetry, bad or wrong, 473. Aberrations from

115. General terms ought to be avoid- a true taste in the fine arts, 476.
ed where sublimity is intended, 122. Tautology, a blemish in writing, 407.
Sublimity may be employed indirectly Telemachus, an epic poem, 414, note.
to sink the mir.d, 124. False sub- Censured, 425, note.
lime, 125.

Temples, of ancient and modern virtue
Submission, natural foundation of sub- in the gardens of Stow, 464.

mission to government, 100, &c. Terence, censured, 242. 439.
Substance, defined, 475.

Terror arises sometimes to its utmos

height instantaneously, 61, &c., a si- time ought to be strictly observed in
lent passion, 236. Objects that strike each act of a modern play, 434, &c.
terror have a fine effect in poetry and Wherein the unity of a garden con-
painting, 410. The terror raised by sists, 444.
tragedy explained, 418.

Unumquodque codem modo dissolvilin
Theorem, general theorems agreeable, quo colligatum est, 147.

Time, past time expressed as present, Vanity, a disagreeable passion, 61., al-

55, &c. Natural computation of time, ways appears mean, 175.
89, &c. Time explained, 485. Variety, distinguished from novelty, 134.
Titus Livius. See Livy.

Variety, ch. ix. Variety in pictures,
Tone, of mind, 475.

159., conspicuous in the works of na
Touch, in touching we feel an impres- ture, 163., in gardening, 450.

sion upon the organ of sense, 11. 476. Veracity of our senses, 51.
Trachiniens, of Sophocles censured, 438. Verb, active and passive, 266, 267.
Tragedy, the deepest tragedies are the Verbal antithesis, defined, 190. 259.

most crowded, 213, note. The later Versailles, gardens of, 447.
English tragedies censured, 217. Verse, distinguished from prose, 289
French tragedy censured, 219, note., Sapphic verse extremely melodious,
232. The Greek tragedy accompa- 290. Iambic less so, ib. Structure of
nied with musical notes to ascertain an hexameter line, 292, &c. Struc-
the pronunciation, 289. Tragedy, ture of English heroic verse, 298,
ch. xxii., in what respect it differs note., 308. &c. 318. English mono-
from an epic poem, 414, &c., distin- syllables aïbitrary as to quantity, 298.
guished into pathetic and moral, 415., English heroic lines distinguished into
its good effects, 416., compared with four sorts, 300. 311., they have a due
the epic as to the subjects proper for mixture of uniformity and variety,
cach, 416, 417., how far it may bor- 315. English rhyme compared with
row from history, 419., rule for di- blank verse, 316. Rules for empo-
viding it into acts, 420, 421., double sing each, 316, &c. Latin hexameter
plot in it, 425., admits not violent ac- compared with English rhyme, 318.,
tion or supernatural events, 426., its compared with

blank verse, ib.
origin, 432. Ancient tragedy a con- French heroic verse compared with
tinued representation without inter- hexameter and rhyme, ib. The En-
ruption, 433. Constitution of the glish language incapable of the melo-
modern drama, 434.

dy of hexameter verse, 319. For
Tragi-comedy, 426.

what subject is rhyme proper, 3:20,
Trees, the best manner of placing them, &c. Melody of rhyme, 'ib. Rhyme
415, 446.

necessary to French verse, 322. Me-
Triangle, equilateral, its beauty, 106. lody of verse is so enchanting as to
Tibrachys, 323.

draw a veil over gross imperfections,
Trochæus, 323.

323. Verses composed in the shape
Tropes, ch. xx.

of an axe or an egg, 447.

Violent action, ought to be excluded
Ugliness, proper and figurative, 482. from the stage, 426.
Unbounded prospect disagreeable, 146, Virgil, censured for want of connection,

21., his verse extremely melodious,
Uniformity of the operations of nature, 296., his versification criticised, 308.,

161, &c. Uniformity apt to disgust censured, 323. 399. 402. 408. 411,
by excess, 106. Uniformity and va- 412. 423.
riety, ch. ix., conspicuous in the Virgil travestie, characterised, 179.
works of nature, 163. The melody Virtue, the pleasures of virtue never de-
of the verse ought to be uniform
where the things described are uni- Vision, the largest and smallest angle of
form, 308. Uniformity defined, 481. vision, 92. 93.
Unity, the three unities, ch. xxiii., of Voltaire, censured, 395. 419. 422. 424.

actions, 430, &c. Unity of action in Voluntary signs of passion, 205, 206.
a picture, 431., of time and of place, Voluptuousness tends to vitiate our
432, &c. Unities of time and of place taste, 471, 472.
not required in an epic poem, ib. Vowels, 248, 249.
Strictly observed in the Greek tra-
gedy, ib. Unity of place in the an- Walk, in a garden, whether it ough
cient drama, ib Unities of place and to be straight or waving, 448. Arti.

cay, 40.

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