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words the last syllable generally long and distinguished from figurative elevation,
accented, ib.

318. Grandeur in Gardening, 418. ir-
Friendship considered with respect to regularity and disproportion increase in
dignity and meanness, 163.

appearance the size of a building, 432.

Gratification of passion, 29. 33. 74. 79.
GALLERY, why it appears longer than 329, &c. 341. 343. Obstacles to gratif.
it is in reality, 419. Is not an agreeable cation inflame a passion, 62.
figure of a room,
430.

Gratitude considered with respect to
Games, public games of the Greeks, 120. its gratification, 62. Eserted upon the

Gardening, a fine garden gives a lustre children of the benefactor, 77. Punish-
to the owner, 40, note. Grandeur of man- ment of ingratitude, 160. Gratitude con-
ner in gardening, 113. Its emotions ought sidered with respect to dignity and mean-
to be contrasted in succession, 139. A ness, 163.
small garden should be coufined to a sin- Greek words finely composed of long
gle expression, 140. 415. A garden near and short syllables, 304.
a great city should have an air of soli. Grief magnifies its cause, 78. Occa-
tude, 140.' A garden in a wild country sions a false reckoning of time, 85. Is
should be gay and splendid, ib. Garden- infectious, 88. When immoderate is si-
ing, chap. Isiv. What emotions can be lent, 222.
raised by it, 415. Its emotions compared Gross pleasure, 58.
with those of architecture, 416. Simpli- Group, natural objects readily form
city ought to be the governing taste, ib. themselves into groups, 150.
Wherein the unity of a garden consists, Guido censured, 357.
418. How far should regularity be stu-
died in it, ib. Resemblance carried too Habit, chap. xiv. Prevails in old age,
far in it, ib. note. Grandeur in gardening, 142. Habit of application to business,
ib. Every unnatural object ought to be 144. 146. 148. Converts pain into plea-
rejected, 420. Distant and faint imita. sure, 148. Distinguished from custom,
tions displease, ib. Winter-garden, 422, 181. Puts the rich and poor upon a
423. The effect of giving play to the level, 189.
imagination, 424. Gardening inspires Harmony or concord in objects of
benevolence, 425. And contributes to sight, 64, 65. Harmony distinguished
rectitude of manners, 438.

from melody, 274, note.
General idea, there cannot be such a Hatred, how produced, 61. Signifies
thing, 451, note.

more commonly affection than passion,
General terms should be avoided in ib. Its endurance, 63.
compositions for amusement, 113. 381. Hearing, in hearing we feel no im-

General theorems, why agreeable, 99. pression, 449.
Generic habit defined, 185.

Henriade censured. 373. 397. 399.
Generosity, why of greater dignity Hexameter, Virgil's hexameters er-
than justice, 162.

tremoly melodious, those of Horace sel-
Genus defined, 457.

dom so, 274. And the reason why they
Gestures that accompany the different are not, 281. Structure of an hexameter
passions, 193–195.

line, 276. Rules for its structure, 277,
Gierusalemme Liberata censured, 397. 278. Musical pauses in an besameter
399.

line, 276, note. Wherein its melody
Globe, a beautiful figure, 150.

consists, 281.
Good nature, why of less dignity than Hiatus defined, 236.
courage or generosity, 162.

Hippolytus of Euripides censured,
Gothic tower, its beauty, 426. Gothic 219. 412.
form of buildings, 431.

History, why the history of beroes and
Government, natural foundation of conquerors is singularly agreeable, 37.
submission to government, 93.

109. By what means does history raise
Grace, chap. xi. Grace of motion, our passions, 51. It rejects poetical
121. Grace analyzed, 165, &c.

images, 370, 371.
Grandeur and sublimity, chap. iv. Dis. History painting. See Painting:
tinguished from beauty, 103. Grandeur Homer defective in order and con-
demands not strict regularity, ib. Regula- nexion, 21. His language finely suited
rity, order, and proportion, contribute to to his subject, 380. His repetitions de-
grandeur, ib. Real and figurative grandeur fended, 383. His poems in a great mea-
intimately connected, 108. Grandeur of sure dramatic, 390. Censured, 398.
manner, 111. Grandeur may be employ.

Hope, 61.
ed indirectly to humble the mind, 114. Horace defective in connexion, 21.
Suits ill with wit and ridicule, 140. Fixes His hexameters not melodious, 274.
the attention, 142. Figurative grandeur Their defects pointed out, 281.

Horror, objects of horror should be ba- Innate idea, there cannot be such a
nished from poetry and painting, 387. thing, 451, note.

House, a fine house gives lustre to the Instinct, we act sometimes by instinct,
owner, 40, note.

29. 45, &c.
Human nature a complicated machine, Instrument, the means or instrument
24.

conceived to be the agent, 346.
Humanity the finest temper of mind,58. Intellectual pleasure, 10.

Humour defined, 168. Humour in Internal sense, 447.
writing distinguished from humour in Intrinsic beauty, 96.
character, ih.

Intuitive conviction of the variety of
Hyperbole, 116, 343.

our senses, 48. Of the dignity of human
Hyppobachius, 308.

nature, 162. 442. Of a common nature

or standard in every species of beings,
Jambic verse, its modulation faint, 274. 440. Of this standard being invariable,
lambus, 308.

441. And of its being perfect or right,
Jane Shore censured, 209. 215. jh. Intuitive conviction ihat the external

Idea pot so easily remembered as a signs of passion are natural, and also that
perception is, 84, 85. Succession of ideas, they are the same in all men, 198, 199.
141. *Pleasure and pain of ideas in a Intuitive knowledge of external ob-
train, 145, &c. Idea of memory defined, jects, 48.
449. Cannot be innate, 451, note. There Inversion and inverted style described,
are no general ideas, ib. idea of an ob- 252, &c. Inversion gives force and live.
ject of sight more distinct than of any liness to the expression by suspending the
other object, 452. Ideas distinguished thought till the close, 261. Inversion how
into three kinds, 453. Ideas of imagina. regulated, 265, 266. Beauties of inver-
tion not so pleasant as ideas of memory, sion, 265, 266. Inversion favourable to
455.

pauses, 289. Full scope for it in blank
Ideal presence, 49, &c. Raised by verse, 301.
theatrical representation, 51. Raised by Involuntary signs of passion, 193–
painting, ib.

195.
Ideal system, 450, note.

lonicus, 308.
Identity of a passion or of an emotion, Joy, its cause, 34, 35. Infectious, 88.
59.

Considered with respect to dignity and
Jet d'eau, 120.420, 421.

meanness, 163.
Jingle of words, 300. 304.

Iphigenia of Racine censured, 190.
Illiad criticised, 404.

Iphigenia in Tauris censured, 298. 412,
Images the life of poetry and rhetoric, 413.
50. 113.

Irony defined, 170.
Imagination the great instrument of Italian tongue too smooth, 237, note.
recreation, 128. To give play to it has Italian words finely diversified by long
a good effect in gardening, 424. Its and short syllables, 236, note.
power in fabricating images, 452. 455. Judgment and memory in perfection
Agreeableness of ideas of imagination, seldom united, 19. Judgment seldom
455.

united with wit, ib.
Imitation,we naturally imitate virtuous Julius Cæsar of Shakspeare censured,
actions, 88. Not those that are vicious, 220, 221.
89.

Inarticulate sounds imitated in Justice of less dignity than generosity
words, 266. None of the fine arts imi. or courage, 162.
tate nature except painting and sculpture,
233. The agreeableness of imitation Kent, his skill in gardening, 417.
overbalances the disagreeableness of the Key-note, 271. 275.
subject, 386. Distant and faint imita- Kitchen.garden, 414.
tions displease, 420.

Knowledge, intuitive knowledgeotes-
Impression made on the organ of sense, ternal objects, 48. Its pleasures never
9. 449. Successive impressions, 238, 239. decay, 188.

Impropriety in action raises contempt,
128. Its punishment, 158.

LABYRINTH in a garden, 420.
Impulse, a strong impulse succeeding Landscape, why so agreealle, 05.153.
a weak makes a double impression; à More agreeable when compreliended un-
weak impulse succeeding a strong makes der one view, 419. A landscape in paint-
scarce any impression, 238.

ing ought to be confined to a single ex-
Infinite series becomes disagreeable pression, 140. Contrast ought to prevail
when prolonged, 137, note.

in it, 149.

Language, power of language to raise monly affection than passion, 61. LOTE
emotions, whence derived, 50, 51. Lan- inflamed by the caprices of a mistress, 62.
guage of passion, chap. xvii. Ought to be its endurance, ib. To a lover absence
suited to the sentinents, 202, 223, 224, appears long, 82. Love assumes the
225. Broken and interrupted, 223. Of qualities of its object, 88. When esces.
impetuous passion, 224. Of languid pas- sive becomes selfish, 101. Considered
sion, ib. Of calm emotions, ib. Oftur- with respect to dignity and meanness, 163.
bulent passions, ib. Examples of lan. Seldom constant when founded on ex
guage elevated above the tone of the sen- quisite beauty, 187. Ill represented in
timent, 230. Of language too artificial, French plays, 218. When immoderate is
or too figurative, ib. too light or airy, silent, 223.
231. Language how far imitative, 233. Love for Love censured, 405.
Its beauty with respect to signification. Lowness is neither pleasant nor pain.
233, 234. 233, &c. ' Its beauty with re- ful, 105.
spect to sounds, 234, &c. It ought to Lucan too minute in bis descriptions,
correspond to the subject, 241.377. Its 113. censured, 390.
structure explained, 250, &c. Beauty Ludicrous, 128. May be introduced
of language from a resemblance betwixt into an epic poem, 141.
sound and signification, 233. 266, &c. Lutrin censured for incongruity, 155,
The character of a language depends on characterized, 167.
the character of the nation whose lan- Luxury corrupts our taste, 444.
guage it is, 295, note. The force of lan-
guage consists in raising complete images, MACHINERY ought to be excluded from
53. Its power of producing pleasant an epic poem, 54. 396. Does well in a
emotions, 386. Without language man burlesque poem, 54.
would scarcely be a rational being, 460, Malice bow generated, 61. Why it is
Latin tongue finely diversified with

perpetual, 62.
long and short syllables, 303.

Man a benevolent as well as a selfish
L'Avare of Moliere censured, 220. heing, 90. Filted for society, 9). Con-
Langhter, 128.

formity of the nature of man to his exter-
Laugh of derision or scorn, 158. nal circumstances, 105. 119. 121. 152.
Law defined, 160.

200. Man intended to be more active
Laws of human nature necessary suc. than contemplative, 164. The different
cession of perceptions, 17.141. We never branches of his internal constitution fine.
act but through the impulse of desire, 28. ly suited to each other, 429. 443.
89. An object loses its relish by fami- Alanners gross and refined, 57. The
liarity, 60. Passions sudden in their bad tendency of rough and blunt man.
growth are equally sudden in their decay, ners, 200, note. Modern manners make
62. 184. Every passion ceases upon ob- a poor figure in an epic poem, 394.
taining its ultimate end, 63. An agree. Vanufactures, the effect of their pro.
able cause produceth always a pleasant ductions with respect to morality, 251,
emotion, and a disagreeable cause note.
painful emotion, 89.

Marvellous in epic poetry, 398.
Laws of motion agreeable, 99.

Means, the means or instrument con-
Les Freres Ennemies of Racine cen: ceived to be ihe agent, 316, dc.
sured, 212, note.

Measure, natural measure of time, 82,
Lewis XIV. of France censured, 154. &c. Of space, 85, &c.
note,

Meaux (Bishop of) censured, 139.
Lex talionis, upon what principle Medea of Euripides censured, 412.
founded, 138.

Melody or modulation defined, 274.
Line, definition of a regular line, 454. Distinguished from harmony, ib. note:

Littleness is neither pleasant nor pain. In ingiish heroic verse are four different
ful, 105. Is connected with respect and sorts of melody, 231. 295. Melody of
humility, 193, note.

blank verse superior to that of rbyme.
Livy censured, 240.

and even to that of hexameter, 301.
Locke censured, 450, note.

Members of a period lave a fine el-
Logic, cause of its obscurity and intri- fect placed in an increasing series, 238,
Cacy, 199.

239.
Logic improper in this climate, 427. Memory and judgment in perfection

Love to children accounted for, 40. seldom united, 19. Memory and wit
The love a man bears to his country es: olten united, ib. Greater with respect
plained, 42. Love produced by pity, 43. to perceptions than ideas, 84. Memory,
Love gradual, 60. It sigviies more com- 449.

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Merry Wives of Windsor, its double Musical measure defined, 273.
plot well contrived, 401.

Metaphor, 349, &c. In early compo- NARRATION, it animates a narrative to
sitions of nations we find metaphors represent things past as present, 52. Nar.
much strained, 353.

ration and description, ch. xxi. It ani-
Metre, 282.

mates a narrative to make it dramatic,
Mile, the computed miles are longer 381, 382. 389, 390.
in a barren than in a populous country, Nation defined, 460.
84.

Note, a high note and a low note in
Milton, his style much inverted, 301. music, 107.
The defect of his versification is the wont Noun, 250,
of coincidence betwixt the pauses of the Novelty soon degenerates into famili.
sense and sound, 301. The beauty of arity, 62. Novelty and the unexpected ap-
Milton's comparisons, 315, 316.

pearance of objects, ch. vi. Novelty a
Moderation in our desires contributes pleasant emotion, 122, &c. Distinguish-
the most to happiness, 101.

ed from variety, 125. Its different de.
Modern manners make a poor figure grees, ib. &c. Fixes the attention, 142.
in an epic poem, 394.

Number defined, 428. Explained, 452.
Modification defined, 457.

Numerus defined, 273.
Modulation defined, 273.
Molossus, 308.

OBJECT of a passion defined, 28. Dis.
Monosyllables (English) arbitrary as tinguished into general and particular, ib.
to quantity, 282.

An agreeable object produces a pleasant
Moral duties. See Duties.

emotion, and a disagreeable object a
Morality, a right and a wrong taste in painful emotion, 89, 90. Attractive ob-
morals, 441. Aberrations from its true ject, 90. Repulsive object, ib. Objects
standard, 444.

of sight the most complex, 95. Objects
Moral sense, 26. Our passions as well that are neither agreeable por disagree-
as actions are governed by it, 56. able, 105, 118, 119. Natural objects rea-
Moral tragedy, 390.

dily form themselves into groups, 153.
Motion requires the constant exertion Av object terminating an opening in a
of an operating cause, 59. Productive of wood appears doubly distant, 419. Oh.
feelings that resem it, 87. Its law's ject defined, 447. Objects of external
agreeable, 99. Motion and force, ch. v. sense in what place perceived, 447. Ob-
What motions are the inost agreeable, jects of internal sense, 448. All objects
118, 119. Regular motion, 119. Acce. of sight are complex, 451. 458. Objects
lerated motion, ib. Upward motion, ib. simple and complex. 458.
Undulating motion, ib. Motion of luids, Obstacles to gratification inflame a
ib. A body moved neither agreeable nor passion, ol.
disagreeable, ib. The pleasure of motion Old Bachelor censired, 405.
differs frou that of torce, 120. Grace of Opera ce sured, 156.
inotion, 121. Motions of the human bo- Opinion influenced by passion, 76, &c.
dy, ib. Motion explained, 452.

329. Influenced by propensity, 81. In-
Motive defined, 29. A selfish motive fluenced by affection, ib. Why differing
arising from a social principle, 30, note. from me in opinion is disagreeable, 441.

Movement applied liguratively to me. Opinion detined, 456.
lody, 268.

Oration of Cicero (Pro Archia Poeta)
Mounl, artificial, 421.

censured, 265,
Mourning Bride censured, 213. 220. Orchard. 422.
230. 410. 414.

Order, 19, &c. 98. 418. Pleasure we
Music, emotions raised by instrument. have in order, 20. Necessary in all com-
al music have not an object, 37. Music positions, 21. Sense of order bas an in-
disposes the heart to various passions, 411. fluence upon our passions, 42. Order
Refined pleasures of music, 32. Vocal and proportion contribute to grandeur,
distinguished from instrumental,69. Wbat 102. "When a list of many particulars is
subjects proper for vocal music, 70, &c. brought into a period, in what order
Sentimental music, 69, note. Sounds fit should they be placed ? 262, &c. Order
to accompany disagreeable passions cane in stating facts, 404.
not be musical, ib. What variety proper, Organ of sense, 9.
149. Music betwixt the acts of a play, Organic pleasure, 9, 10, &c.
the advantages that may be drawn from Orlando Furioso censured. 405.
it, +11. It refines our nature, 32, 33. Ornament ought to be suited to the

Musical instruments, their different ef- subject, 156, &c. Redundant ornaments
(ects upon the mind, 110.

ought to be avoided, 370. Ornaments
a bexameter line, 277. Musical pauses
Passion, no pleasure of external sense ought to coincide with those in the sense,
denominated a passion, except of seeing 278, 279. What musical pauses are es-
and hearing, 24. Passion distinguished sential in English heroic verse, 284.
from emotion, 27, &c. Objects of pas. Rules concerning them, 284, 285, Pause
sion, 28, 29. Passions distinguished in- that concludes a couplet, 290. Pause
to instinctive and deliberative, 29. 44, and accent have a mutual influence, 297.
&c. what are selfish, wbat social, 30. what Pedestal ought to be sparingly orna-
dissocial, 31. Passions communicated to mented, 433,
related objects, 39, &c. 33). 207. 278. Perceptions more easily remembered
293. 331. 360. Generated by a complex than ideas, 84. Succession of percep-
object, 42. A passion pares the way to tions, 17. 141. Unconnected perceptions
others of a similar tone, 43, 44. A pas. find not easy admittance to the mind,
sion paves the way to others in the same 142. 145. Pleasure and pain of percep-
tone, 43. Passion raised by painting, 51. tions in a train, 145, &c. Perception de-
Passions considered as pleasant or pain- fined, 448.described, 449. Original and se-
ful, agreeable or disagreeable, 56, &c. condary, ib. &c. Simple and complex, ib.
Our passions governed by the moral sense, Period has a fine effect when its mem-
ib. Social passions more pleasant and bers proceed in the form of an increasing
less painful than the selfish, 58. Passions series, 238, 239. In the periods of disa
are infectious, 57. 88, 89. are refined or course variety ought to be studied, 239.
gross, 68. Their interrupted existence, Different thoughts ought not to be crowd.

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distinguished into what are merely such, 59, &c. Their growth and decay, 60,
and what have relation to use, 380. Al- &c. The identity of a passion, 59.
legorical or emblematical ornaments,384. The bulk of our passions are the affec-
Ossian excelsin drawingcharacters, 376. tions of love or hatred inflamed into a
Othello censured, 387.

passion, 61. Passions have a tendency
Ovid censured, 149.

to excess, ib. Passions swell by opposi-

tion, 62. A passion sudden in growth is
PÆon, 308.

sudden in decay, ib. A passion founded
Pain, cessation of pain extremely plea. on an original propensity endures for life,
sant, 35. Pain, voluntary and involun. 63. founded on affection or aversion is
tary, 58. Different effects of pain upon subject to decay, ib. A passion ceases
the temper, ib. Social pain less severe upon attaining its ultimate end, 62, 63.
than selfish, ib. Pain of a train of per- Coexistent passions, 63, &c. Passions
ceptions in certain circumstances, 145. similar and dissimilar, 71. Fluctuation
Pain lessens by custom, 188, 440. Pain of passion, ib. &c. 207. Its influence
of want, 188.

upon our perceptions, opinions, and be-
Painful emotions and passions, 55, &c. lief, 76, &c. 83. 87. 134, 135, 329. 341.

Painting, power of painting to move 343. 346, &c. Passions attractive and
our passions, 51. Its power to engage repulsive, 90. 198. Prone to their grati-
our belief, 53. What degree of variety is fication, 94. Passions ranked according
requisite, 148. A picture ought to be so to their dignity, 162, 163. Social pas-
simple as to be seen at one view, ib. In sions of greater dignity than selfish, 165.
grotesque painting the figures ought to be External signs of passion, ch. xv. Our
small, in historical painting as great as passions should be governed by reason,
the life, 108. Grandeur of manner in 210. Language of passion, ch. svii. A
painting, 113. A landscape admits not passion when immoderate is silent, 292,
variety of expression, 140. Painting is 223. Language of passion broken and
an imitation of nature, 233. In history, interrupted, 223. What passions admit
painting the principal figure ought to be of figurative expression, 224. 318. 320.
in the best light, 382. A good picture Language proper for impetuous passion,
agreeable though the picture be disagree. 224. for melancholy, ib. for calm emo.
ble, 385. Objects that strike terror have tions, ib. for turbulent passion, ib. In
a fine effect in painting, 387. Objects of certain passions the mind is prone to be-
horror ought not to be represented, ib. stow sensibility upon things inanimate,
Unity of action in a picture, 406. What 319. 329. With regard to passion man
emotions can be raised by painting, 415. is passive, 448. We are conscious of
Panic, cause of it, 88.

passions as in the heart, ib.
Paradise lost, the richness of its melo- Passionate personification, 333.
dy, 301. Censured, 305.

Passive subject defined, 460.
Parallelogram, its beauty, 98.

Pathetic tragedy, 390.
Parody defined, 171. 206, note.

Pause, pauses necessary for three dif-
Particles, 289, not capable of an ac- ferent purposes, 275. Musical pauses in
cent, 293.

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