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ABSTRACTION, power of, 458. Its use, Alcestes of Euripides censured, 228.
an historical poem, 399.
Action, what feelings are raised by hu- Amor patriæ accounted for, 42.
hunger, thirst, animal love, arise with-
or esteem, 93.
Apprebension, dulness and quick-
of gardening, ib. Every building ought
Agreeable emotions and passions, 55, nation, 417. 430. Simplicity ought to be
be studied, 418. 427. External form of
dwelling-houses, 425, 426. Divisions sists the beauty of the human visage,
Berkeley censured, 450, note.
for inversion, 301. Its melody, ib.
How far proper in tragedy, 403.
Body defined, 447.
Business, men of middle age best
Cavesce, 271. 275.
Capital of a column, 436.
well contrived, 401.
Attention defined, 456. Impression Cause, resembling causes may pro-
may produce resembling effects, 207.
Cause defined, 460.
Chance, the mind resolts against mis.
Characteristics of Shaftsbury criti-
cised, 156, note'.
Children, love to them accounted
A child can discover & pas.
sion from its external signs, 198. Hides
none of its emotions, 202.
suprise studied in them, 424.
Climax in sense, 108. 207. 262. In Conquest of Granada of Dryden cen-
Coexistent emotions and passions, cause of inconstancy, 187.
Construction of language explained,
Colour, gold and silver esteenied for Contemplation, when painful, 146.
Columns, every column ought to have 237. In a series of objects, 238. Contrast
Comedy, double plot in a comedy, Coriolanus of Shakspeare censured,
Corporeal pleasure, 9, 10. Low, and
Its terms not accurately defined, 199.
Crowd defiried, 460.
tinguished from babit, 181. Custom
Davila censured, 149.
Declensions explained, 251.
Dedications. See Epistles Dedicatory.
Delicacy of taste, 57, 445.
Descent not painful, 106.
Description, it animales a description
The rules that ought to govern it, 370.
Congreve censured, 34. 168. 194, though the subject described be disa-
greeable, 535. No objects but those of
Desire in a criminal to be punished,
ness when moderate, 101.
Dialogue, dialogue-writing requires tinguished from passions, 27. Emotion
Dignity and grace, chap. xi. Digni- pleasant and painful, agreeable and dis-
agreeable, 55, &c. 453. The interrupt-
ed existence of emotions, 59, &c. Their
growih and decay, 60. Their identity,
tions similar and dissimilar, 64. Com.
coesistent emotions, 64, 430. Effects of
dissimilar coexistent emotions, 66. 417.
Dissimilar passions, their effects, 87. 134, 135. 329. 341. 343. 346, &c
Emotions resemble their causes, S7, &T.
Distance, the natural method of tion of laughter, chap.vii. of ridicule, 120.
sion, 139, Emotions raised by the fine
arts ought to be constrasted in succes
sion, ih. Emotions of congruity, 156. of
Double Dealer of Congreve censur. human actions, 161. Ranked according
to their dignity, 163. External signs of
pulsive emotions, 198. What emotions
tion, 417. What emotions are raised by
the productions of manufactures, 425,
Duties, moral duties distinguished Emphasis defined, 293, note. Ought
English tongue too rough, 237. Ia
early, 236, note. English tongue more
grave and sedate in its tone than the
Efficient cause of less importance Epic poem, no improbable fact ought
to be adınitted, 54. Machinery in it bas
Elevation, 102, &c. Real and figu- jeci ludicrous images, 141. Its com-
a tragedy, 389. Distinguished into ps-
may borrow from history, 394. Rule for Of ideal presence, 58, &c. of the power
tbat fiction has over the mind, 54. Or
emotions and passions, 89, &c. of the
communication of passion to related obe
and simplicity, 98. Of proportion, ib. Of
neither pleasant nor painful, 105, 106.
118. Of the pleasure we have in motion
and force, 12). Of curiosity, 122. Of
wonder, 127. Of surprise, ib. Of the
results from the different circumstances
congruity and propriety, 159, &c. Of
188, &c. Of the external signs of passion
held from the bulk of mankind, 440. Of
External senses distinguished into two every species of beings, 441. Of uni-
formity of taste in the fine arts, 442, 443.
Eyesight influenced by passion, 86. Final cause of greater importance than
the efficient cause, 164.
Fine arts defined, 11. 15. A subject
great support to morality, 12, &c. 424.
contrasted in succession, 139. Uniformity
and variety in the fine arts, 148. Consi-
far they may be regulated by custom, 189.
and sculpiure, 233. Aberrations from a
Fear explained, 44, &c. Rises often Fluid, motion of fluids, 119.
cal feet defined, 276, note. A list of
Fiction, emotions raised by fiction, Force produces a feeling that resem.
bles it, 87. Force, chap. v. Moving
fering from that of motion, ib. It con-
Foreign, preference given to foreign