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INDEX.

ABSTRACTION, power of, 458. Its use, Alcestes of Euripides censured, 228.
459.

412, 413.
Abstract terms, ought to be avoided Alexandre of Racine censured, 212.
in poetry, 113. 381. Cannot be com- Alexandrine line, 282.
pared but by being personified, 311. Allegory defined, 35l. More diffi-
Personified, 332, 333. Defined, 458. cult in painting than in poetry, 357. In
The use of abstract terms, 459.

an historical poem, 399.
Accent defined, 275. The musical ac- All for Love of Dryden censured,
cents that are necessary in an hexameter 222.
line, 280. A low word must not be ac- Alto-relievo, 433.
cented, 294. Rules for accenting Eng. Ambiguity, occasioned by a wrong
lish beroic verse, 294, 295. How far choice of words, 240. Occasioned by
affected by the pause, 295. Accent and a wrong arrangement, 254, 255.
pauze bave a mutual influence, 296. Aminta of Tasso censured, 209.

Action, what feelings are raised by hu- Amor patriæ accounted for, 42.
man actions, 26. 107. 161. We are im- Ampbibrachys, 308.
pelled to action by desire, 28. Some ac- Amphimacer, 308.
tions are instinctive ; some intended as Analytic and synthetic methods of
means to a certain end, 29. Actions reasoning compared, 20.
great and elevated, low and grovelling,

Anapastus, 308.
107. Slowness and quickness in acting, Anger explained, 14, &c. Frequently
to what causes owing, 142, 147. Emo. comes to its height instantaneously, 61.
tions occasioned by propriety of action, Decays suddenly, 62. Sometimes exert-
157. Occasioned by impropriety of ac- ed against the innocent, 79, and even
tion, ib. Human actions considered with against things inanimate, ib. Not infec-
respect to dignity and meanness, 164. tious, 88. Has no dignity in it, 163.
Actions the interpreters of the heart, Angle, largest and smallest angle of
196. Action is the fundamental part of vision, 86.
epic and dramatic compositions, 395. Animals distributed by nature into
Unity of action, 403. We are conscious classes, 440.
of internal action, as in the head, 448. Antibacchius, 308.
Internal action may proceed without Anticlimax, 270.
our being conscious of it, ib.

Antispastus, 308.
Action and reaction betwist a pas- Antithesis, 244. Verbal antithesis,
sion and its object, 61.

176. 244.
Actor, bombast actor, 117. The chief Apostrophe, 341, &c.
talents of an actor, 194. An actor should Appearance, things ought to be de-
feel the passion he represents, 204. Dif- scribed in poetry as they appear, not as
ference as to pronunciation betwixt the they are in reality, 271.
French and English actors, 206, note. Appetite defined, 28. Appetites of
Admiration, 61. 122.

hunger, thirst, animal love, arise with-
Æneid, its unity of action, 404. See out an object, 37. Appetile for fame
Virgil.

or esteem, 93.
Affectation, 156.

Apprebension, dulness and quick-
Affection to children accounted for, ness of apprebension, to what causes
40. To blood-relations, ib. For what owing, 142.
belongs to us, 41. Social affections Architecture, ch. xxiv. Grandeur of
more refined than selfish, 58. Affec- manner in architecture, 111. The situ-
tion in what manner inflamed into a ation of a great house ought to be lofty,
passion, 61. Opposed to propensity, 63. 155. A playhouse or music-room sus-
Affection to children endures longer ceptible of much ornament, ib. What
than any other affection, ib. Opinion emotions can be raised by architecture,
and belief influenced by affection, 81. 416. Its émotions compared with those
Affection defined, 183, 456.

of gardening, ib. Every building ought
Agamemnon of Seneca censured, 218. to have an expression suited to its desti-

Agreeable emotions and passions, 55, nation, 417. 430. Simplicity ought to be
&c. Things neither agreeable nor dis- the governing taste, 416. Regularity to
agreeable. See object.

be studied, 418. 427. External form of

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dwelling-houses, 425, 426. Divisions sists the beauty of the human visage,
within, 426, 431. 432. A palace ought to 192. Beauty proper and figuratire, $51.
be regular, but in a small house conve. Behaviour, gross and refined, 58.
nience ought to be preferred, 425, 426. Belief, of the reality of external ob-
A dwelling-house ought to be suited to jects, 48. Enforced by a lively narra-
the climate, 427. Congruity ought to be tive, or a good historical painting, 53.
studied, 130. Architecture governed by Influenced by passion, 329, 343. la-
principles that produce opposite effects, tiuenced by propensity, 80, 81, Infiu-
432, 433. Different ornaments employ- enced by affection, 81.
ed in it, 430. Witticisms in architecture, Benevolence operates in conjunction
437. Allegorical or emblematic orna- with self-love to make us happy, 90, Be.
ments, ib. Architecture inspires a taste nevolence inspired by gardening.
for neatness and regularity, 438.

4:24.
Ariosto censured, 149, 405.

Berkeley censured, 450, note.
Arist rus, the episode of Aristaus in Blank verse, 282, 300. Its aptitude
the Georgics censured, 307,

for inversion, 301. Its melody, ib.
Aristotle censured, 430, note.

How far proper in tragedy, 403.
Army defined, 460.

Body defined, 447.
Arrangement, the best arrangement of Boileau censured, 341. 397.
words is to place is possible, in an Bombast, 115. Bombast in action, 117.
increasing series, 233. Arrangement of Bossu censured, 407, note.
members in a period, 239. Of periods in Burlesque, machinery does well in a
a discourse, ib. Ambiguity from wrong burlesque poem, 54. Burlesque distip-
arrangement, 254, 255. Arrangement guished into two kinds, 167.
natural and inverted, 265, 266.

Business, men of middle age best
Articulate sounds, how far agreea- qualified for it, 142.
ble, 231-236.
Artificial mount, 421.

Cavesce, 271. 275.
Arts See Fine Arts.

Capital of a column, 436.
Ascent pleasant, but descent pot Careless Husband, its double plot
painful, 106.

well contrived, 401.
Athalie of Racine censured, 218. Cascade, 120.

Attention defined, 456. Impression Cause, resembling causes may pro-
made by objects depends on the de- duce effects that have no resemblance:
gree of attention, ib. Attention not al. and causes that have no resemblance
ways voluntary, 457.

may produce resembling effects, 207.
Attractive passions, 198.

Cause defined, 460.
objects, 90.

Chance, the mind resolts against mis.
- signs of passion, 197. fortunes that happen by chance, 393.
Attributes, transferred by a figure of Character to draw a character is the
speech from one subject to another, master-stroke of description, 375), 376.
347, &c.

Characteristics of Shaftsbury criti-
Avarice defined, 27.

cised, 156, note'.
Avenue to a house, 421.

Children, love to them accounted
Aversion defined, 61, 62. 183. 456. for, 40.

A child can discover & pas.

sion from its external signs, 198. Hides
BACCITOS, 308.

none of its emotions, 202.
Bajazet of Racine censured, 227. Chinese gardens, 423. Wonder and
Barren scene defined, 405.

suprise studied in them, 424.
Base of a column, 435.

Choreus, 308.
Basso-relievo, 433.

Choriambus, 308.
Batrachomuomachia censured, 168. Chorus, an essential part of the Gre-
Beauty, ch. iii. Intrinsic and relative, cian tragedy, 407.
96. 422. Beauty of simplicity, 97. of fi- Church, what ought to be its forma
gure, ib. of the circle, 98. of the square, and situation, 433.
ib. of a regular polygon, ib. of a paral- Cicero censured, 265, 272, 273
lelogram, ib. of an equilateral triangle, Cid of Corneille censured, 208, 20.
ib. Whether beauty be a primary or se- Cinna of Corneille censured, 156. 16.
condary quality of objects, 100. Beau- 219.
ty distinguished from grandeur, 103. Circle, its beauty, 98.
Beauty of natural colours, 151. Beauty Circumstances, in a period where
distinguished from congruity, 155. they should be placed, 257. 260.
Consummate beauty seldom produces Class, all living creatures distribut.
a constant lover, 187. Wherein con- ed into classes, 440, 441.

a

a

Climax in sense, 108. 207. 262. In Conquest of Granada of Dryden cen-
"sound, 239. When these are joined the sured, 221.
sentence is delightful, 270.

Consonants, 235.
Coëpheres of Eschylus censured, 191. Constancy, consummate beauty the

Coexistent emotions and passions, cause of inconstancy, 187.
63, &c.

Construction of language explained,
Colonnade, where proper, 427. 249.

Colour, gold and silver esteenied for Contemplation, when painful, 146.
their beautiful colours, 97. A secondary Contempt raised by improper action,
quality, 100. Natural colours, 151, Co. 128.
louring of the human face exquisite, ib. Contrast, ch. viii. Its effect in language,

Columns, every column ought to have 237. In a series of objects, 238. Contrast
a base, 88. The base ought to be square, in the thought requires contrast in the
ib. Columns admit different propor- members of the expression, 227. The
tions, 430, 431. What emotions they effect of contrast in gardening, 423.
raise, 431. Column more beautiful than Conviction intuitive. See Intuitive
a pilaster, 434. Its form, 435. Five or Conviction.
ders of columns, 435, 436. Capital of Copulative, to drop the copulative
the Corinthian order censured, 436. enlivens the expression, 249, &c.

Comedy, double plot in a comedy, Coriolanus of Shakspeare censured,
400, 401. Modern manners do best in 221.
comedy, 395. Immorality of English Corneille censured, 206. 215. 226. 229.
Comedy, 33.

Corporeal pleasure, 9, 10. Low, and
Comet, motion of the comets and pla. sometimes mean, 163.
nets compared with respect to beauty, Couplet, 282. Rules for its composi-
119.

tion, 300.
Commencement of a work ought to Courage of greater dignity than jus-
be modest and simple, 370.

tice, 163.
Common nature in every species of Creticus, 308.
animals, 56.440. We have a conviction Criminal, the hour of execution seems
that this common nature is invariable, to him to approach with a swift pace, S2.
441. Also that it is perfect or right, Criticism, its advantages, 12, &c.
56, 441.

Its terms not accurately defined, 199.
Common sense, 441, 446.

Crowd defiried, 460.
Communication of passion to related Curiosity, 122. 130, &c.
objects. See Passion. Communica- Custom and habit, chap. xiv. Ren-
tion of qualities to related objects. See ders objects familiar, 122. Custom dis-
propensity.

tinguished from babit, 181. Custom
Comparison, 130, &c. ch. xis. In the puts the rich and poor upon a level,
early composition of all nations com- 189. Taste in the fine arts improved by
parisons are carried beyond proper custom, 445, note.
bounds, 309, 310. Comparisons that
resolve into a play of words, 325.

DACTYLE, 308.
Complex emotion, 64, &c.

Davila censured, 149.
Complex object, its power to gene-

Declensions explained, 251.
rate passion, 42. 114.

Dedications. See Epistles Dedicatory.
Complex perception, 451, 452.

Delicacy of taste, 57, 445.
Complexion, what colour of dress is Derision, 58. 167.
the most suitable to different complex. Des Cartes censured, 450, note.
ions, 138.

Descent not painful, 106.
Conception defined, 448.

Description, it animales a description
Concord or barmony in objects of to represent things past as present, 52.
sight, 66.

The rules that ought to govern it, 370.
Concordant sounds defined, 63. A lively description is agreeable,

Congreve censured, 34. 168. 194, though the subject described be disa-
note, 402.

greeable, 535. No objects but those of
Congruity and propriety, ch. x. A se. siglit can be well described, 452.
condary relation, 154, note. Congruity Descriptive personifications, 333.
distinguished from beauty, 155. Distin- Descriptive tragedy, 204.
guished from propriety, ib. As to quan- Desire defined, 27. It impels us to
tity, congruity coincides with propor- action, 29. It determines the will, €9.
tion, 159.

Desire in a criminal to be punished,
Connexion essential in all composi- 92. Desire tends the most to happi-
tions, 21.

ness when moderate, 101.

Dialogue, dialogue-writing requires tinguished from passions, 27. Emotion
great genius, 204, &c. In dialogue every generated by relations, 38, &c. Emotions
expression ought to be suited to the cha-> expanded upon related objects, 39, &c.
racter of the speaker, 381. Dialogue 259.267.278. 293.331.332.360. Emotions
makes a deeper impression than nar. distinguished into primary and seconda-
ration, 390. Qualified for expressing ry, 40. Raised by bction, 47, &c. Raised
sentiments, 391. Rules for it, 402, &c. by painting, 51. Emotions divided into

Dignity and grace, chap. xi. Digni- pleasant and painful, agreeable and dis-
ty of human nature, 442.

agreeable, 55, &c. 453. The interrupt-
Diiambus, 308.

ed existence of emotions, 59, &c. Their
Diphthongs, 235.

growih and decay, 60. Their identity,
Disagreeable einotions and passions, ib. Coexistent emotions, 63, &c. Emo-
&c.

tions similar and dissimilar, 64. Com.
Discordant sounds defined, 63. plex emotions, ib. 65. Effects of similar
Dispondeus, 308.

coesistent emotions, 64, 430. Effects of
Disposition defined, 456,

dissimilar coexistent emotions, 66. 417.
Dissimilar emotions, 04. Their effects Influence of emotions upon our percep-
when co-existent, 66. 417. 429. 430. tions, opinions, and belief, 76, dc. 56,

Dissimilar passions, their effects, 87. 134, 135. 329. 341. 343. 346, &c
7.

Emotions resemble their causes, S7, &T.
Dissocial passions, 31. All of them Emotions of grandeur, 101, &c. of sub-
painful, 56, and also disagreeable, 57. limity, 102. A low emotion, 106. Emo-

Distance, the natural method of tion of laughter, chap.vii. of ridicule, 120.
computing the distance of objects, 85. Emotions when conirasted should not be
&c. Errors to which the computation too slow nor too quick in their succes.
is liable, 429, 432.

sion, 139, Emotions raised by the fine
Ditrochæus, 308.

arts ought to be constrasted in succes
Door, its proportion, 425.

sion, ih. Emotions of congruity, 156. of
Double action in an epic poem, 404. propriety, ib. Emotions produced by

Double Dealer of Congreve censur. human actions, 161. Ranked according
ed, 218, 405.

to their dignity, 163. External signs of
Double plot in a dramatic composi- emotions, chap. xv. Attractive and re-
tion, 400.

pulsive emotions, 198. What emotions
Drama, ancient and modern compar- do best in succession, wbat in conjunc-
ed, 407.

tion, 417. What emotions are raised by
Dramatic poetry, chap. xxii.

the productions of manufactures, 425,
Drapery ought to bang loose, 88. note. Man is passive with regard to his
Dress, rules about dress, 156, 416. emotions, 448. We are conscious of
Dryden censured, 356. 402.405. emotions, as in the heart, ib.

Duties, moral duties distinguished Emphasis defined, 293, note. Ought
into those which respect ourselves, and never to be put upon words of import-
those which respect others, 159. Foun- ance, 271, 272. 294.
dation of duties that respect ourselves, English plays generally irregular, 414.
ib. of those that respect others, ib. Du- English comedies generally licentious,
ty of acting up to the diguity of our na- 33.
ture, 162, 163,

English tongue too rough, 237. Ia
Dwelling house, its external form, English words the long syllable is put
427. Internal form, 426. 431.

early, 236, note. English tongue more

grave and sedate in its tone than the
EDUCATION promoted by the fine arts, French, 295, note. Peculiarly qualified
12. 425. Means to promote in young for personification, 332, note.
persons a habit of virtue, 38.

Entablature, 434,
Effects, resembling effects may be Eovy delined, 28. How generated, 61.
produced by causes that have no re- Why it is perpetual, 62. It magaiñes
semblance, 267. Effect defined, 460. every bad quality in its object, 77.

Efficient cause of less importance Epic poem, no improbable fact ought
than ibe final cause, 164.

to be adınitted, 54. Machinery in it bas
Electra of Sophocles censured, 191. a bad effect, 54. It doth not always re-

Elevation, 102, &c. Real and figu- jeci ludicrous images, 141. Its com-
rative intimately connected, 106. Fi. mencement ought to be modest and sim-
gurative elevation distinguished from ple, 369. In what respect it differs from
figurative grandeur, 317, 318.

a tragedy, 389. Distinguished into ps-
Emotion, what feelings are termed thetic and moral, 390. Its good effects,
emotions, 24. Emotions defined, 25. 391. Compared with tragedy as to the
And their causes assigned, 25, 26.' Dis. subjects proper for eacb, ib. How far it

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may borrow from history, 394. Rule for Of ideal presence, 58, &c. of the power
dividing it into parts, 395.

tbat fiction has over the mind, 54. Or
Epic poetry, chap. sxii.

emotions and passions, 89, &c. of the
Epicurus censured, 450, note.

communication of passion to related obe
Episode in an historical poem, 399. jects, 93. Of regularity, uniformity, order,
Requisites, ibid.

and simplicity, 98. Of proportion, ib. Of
Epistles dedicatory censured, 154, note. beauty, '100.' Why certain objects are
Epithets redundant, 384,

neither pleasant nor painful, 105, 106.
Epitritus, 309.

118. Of the pleasure we have in motion
Essay on Man criticised, 307.

and force, 12). Of curiosity, 122. Of
Esteem, 'ove of, 93. 110.

wonder, 127. Of surprise, ib. Of the
Esther of Racine censured, 218. 220. principle that prompts us to perfect every
Eunuch of Terence censured, 229. work, 137. Of the pleasure or pain that
Euripides censured, 228. 412.

results from the different circumstances
Evergreens cut in the shape of ani- of a train of perceptions, 147, &c. Of
mals, 420.

congruity and propriety, 159, &c. Of
Effect of experience with respect to dignity and meanness, 164, &c. Of habit,
taste in the fine arts, 445, note.

188, &c. Of the external signs of passion
Expression, elevated, low, 107. Ex. and emotion, 195. 199, &c. Why arti-
pression that has no distinct meaning, culate sounds singly agreeable are always
232. Members of a sentence expressing agreeable in conjunction, 235. of the
a resemblance betwixt two objects ought pleasure we have in language, 386. Of
to resemble each other, 246, &c. Force our relish for various proportions in quan-
of expression by suspending the thought tity, 428. Why delicacy of taste is witb.
to the close, 263.

held from the bulk of mankind, 440. Of
External objects, their reality, 48. our conviction of a common standard in

External senses distinguished into two every species of beings, 441. Of uni-
kinds, 9. External sense, 447.

formity of taste in the fine arts, 442, 443.
External signs of emotions and passions, Why the sense of a right and a wrong in
chap. xv. External signs of passion, what the fine arts is less clear than the sense
emotions they raise in a spectator, 55,&c. of a right and a wrong in actions, 444.

Eyesight influenced by passion, 86. Final cause of greater importance than
134, 135.

the efficient cause, 164.

Fine arts defined, 11. 15. A subject
Face, though uniformity prevail in the of reasoning, 12. Education promoted
human face, yet every face is distin- by the fine arts, 13. 425. The line arts a
guishable from another, 153.

great support to morality, 12, &c. 424.
Faculty by wbich we know passion 438, &c. Their emotions ought to be
from its external signs, 198.

contrasted in succession, 139. Uniformity
Fairy Queen criticised, 354.

and variety in the fine arts, 148. Consi-
False quantity painful to tbe ear, 283. dered with respect to dignity, 163. How
Fame, love of, 93.

far they may be regulated by custom, 189.
Familiarity, its effect, 60. 122. 360. It None of them are imitative but painting
wears off by absence, 126.

and sculpiure, 233. Aberrations from a
Fashion, its influence accounted for, true taste in these arts, 443. Who quali-
39. Fashion is in a continual flux, 100. fied to be judges in the fine arts, 445.

Fear explained, 44, &c. Rises often Fluid, motion of fluids, 119.
to its utmost pitch in an instant, 61. Foot, the effect that syllables collected
Fear arising from affection or aversion, into feet have upon the ear, 249. Musi-
ib. Fear is infectious, 83.

cal feet defined, 276, note. A list of
Feeling, its different significations, 448. verse-feet, 308.

Fiction, emotions raised by fiction, Force produces a feeling that resem.
47, &c.

bles it, 87. Force, chap. v. Moving
Figure, beauty of, 97. Definition of a force, 120. Force gives a pleasure dit-
regular figure, 454.

fering from that of motion, ib. It con-
Figures, some passions favourable to tributes to grandeur, ib.
figurative expression, 223. 319.

Foreign, preference given to foreign
Figures, chap. xx. Figure of speech, curiosities, 126.
335. 350. 359, &c. Figures were of old Fountains, in what form they ought to
much strained, 310. 353.

be, 199.
Final cause defined, 164. Final cause French dramatic writers criticised,
of our sense of order and connexion, 23. 206, note 218. 414,
Of the sympathetic emotion of virtue, 37, French verse requires rhyme, 306.
38. Of the instinctive passion of fear, 45. French language more lively to the ear
Of the instinctive passion of anger, 47. than the English, 295, note. In French

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