Chinese, gardens, 450. Wonder and Complexion, what colour of dress is the surprise studied in them, 451. most suitable to different complexions, 148.
Choreus, 323. Choriambus, 321.
Chorus, an essential part of the Grecian tragedy, 433.
Church, what ought to be its form and situation, 458.
Cicero censured, 280. 287. 290. Cid, of Corneille censured, 221. 233. Cinna, of Corneille censured, 168. 219. 232.
Circle, its beauty, 105.
Circumstances, in a period, where they should be placed, 273. 275. Class, all living creatures distributed into classes, 470, 471. Climax, in sense, 116. 220. 278. In sound, 253. When these are joined, the sentence is delightful, 286. Caphores, of Eschylus censured, 203. Coexistent emotions and passions,67,&c. Colonnade, where proper, 454. Color, gold and silver esteemed for their beautiful colors, 104. A secondary quality, 59. Natural colors, 161. Co- Joring of the human face, exquisite, ib. Columns, every column ought to have a base, 91. The base ought to be square, 95. Columns admit different proportions, 456-458. What emo- tions they raise, 458. Column more beautiful than a pilaster, 462. Its form, ib. Five orders of columns, ib. Capital of the Corinthian order cen- sured, 463.
Comedy, double plot in a comedy, 425, 426. Modern manners do best in comedy, 420. Immorality of English comedy, 36.
Comet, motion of the comets and planets compared with respect to beauty, 128. Commencement, of a work ought to be modest and simple, 39.
Common nature, in every species of animals, 60. 467. We have a convic- tion that this common nature is inva- riable, 468. Also that it is perfect or right, 60. 468.
Common sense, 467.473. Communication of passion to related objects. See Passion. Communication of qualities to related objects. See Propensity. Comparison, 140, &c. ch. xix. In the carly composition of all nations, com- parisons are carried beyond proper bounds, 325. Comparisons that re- solve into a play of words, 343. Complex emotion, 68, &c.
Complex object, its power to generate passion, 45. 122. Complex perception, 479.
Conception, defined, 475.
Concord, or harmony in objects of sight, 69.
Concordant sounds, defined, 67. Congreve, censured, 37. 180. 207. note. 428.
Congruity and propriety, chap. x. A secondary relation, 165, note. Con- gruity distinguished from beauty, 166. Distinguished from propriety, ib. As to quantity, congruity coincides with proportion, 170.
Connection essential in all composi tions, 23.
Conquest of Granada, of Dryden cen- sured, 234. Consonants, 249.
Constancy, consummate beauty the cause of inconstancy, 199. Construction, of language explained, 264, &c.
Contemplation, when painful, 156. Contempt, raised by improper action,
Contrast, chap. viii. Its effect in lan- guage, 251. In a series of objects, 252. Contrast in the thought requires contrast in the members of the expres sion, 251. The effect of contrast in gardening, 450.
Conviction, intuitive. See Intuitive Con- viction.
Copulative, to drop the copulative en- livens the expression, 264, &c. Coriolanus, of Shakspeare censured, 234.
Corneille, censured, 219. 229. 240. 243. Corporeal pleasure, 11-13. Low and sometimes mean, 174.
Couplet, 298. Rules for its composi- tion, 316.
Courage, of greater dignity than jus- tice, 174. Creticus, 324.
Criminal, the hour of execution seems to him to approach with a swift pace, 89. Criticism, its advantages, 14, 15. Its terms not accurately defined, 212. Crowd, defined, 485. Curiosity, 131, 139, &c. Custom and habit, ch. xiv. Rend objects familiar, 131. Custom distin- guished from habit, 193. Custom puts the rich and poor upon a level, 201. Taste in the fine arts improved by custom, 472, note.
Dactyle, 324. Davila, censured, 159. Declensions, explained, 267.
Dedications. See Epistles Dedicatory. Delicacy, of taste, 61. 472. Derision, 169. 179.
Des Cartes, censured, 477, note. Descent, not painful, 114. Description, it animates a description to represent things past as present, 55. The rules that ought to govern it, 392, &c. A lively description is agreeable, though the subject describ- ed be disagreeable, 409. No objects but those of sight can be well des- cribed, 480.
Descriptive personifications, 351. Descriptive tragedy, 217.
Desire, defined, 29. It impels us to ac- tion, 31. It determines the will, 96. Desire in a criminal to be punished, 99. Desire tends the most to happi- ness when moderate, 108. Dialogue,dialogue writing requires great genius, 216, &c. In dialogue every expression ought to be suited to the character of the speaker, 404. Dia- logue makes a deeper impression than narration, 415. Qualified for express- ing sentiments, 416. Rules for it, 427, &c.
Dignity and grace, chap. xi. Dignity of human nature, 469. Diiambus, 324. Diphthongs, 249.
Disagreeable emotions and passions, 58, &c.
Discordant sounds, defined, 68. Dispondeus, 324. Disposition, defined, 483. Dissimilar emotions, 68. Their effects
when coexistent, 71. 444. 450. 457. Dissimilar passions, their effects, 76. Dissocial passions, 33. All of them painful, 59. and also disagreeable, 60. Distance, the natural method of com- puting the distance of objects, 92, &c. Errors to which this computation is liable, 455. 459. Ditrochæus, 321.
Door, its proportion, 452.
Double action, in an epic poem, 430. Double Dealer, of Congreve censured, 231. 431.
Double plot, in a dramatic composition, 425.
Drama, ancient and modern compared, 432, &c.
Dramatic poetry, ch. xxii. Drapery, ought to hang loose, 95. Dress, rules about dress, 167. 443. Dryden, censured, 375. 427. 431. Duties, moral duties distinguished into those which respect ourselves and those which respect others, 170. Foun- dation of duties that respect ourselves.
ib., of those that respect others, ib. Duty of acting up to the dignity of our nature, 173. 175. Dwelling-house, its external form, 152, &c. Internal form, 453. 458.
Education, promoted by the fine arts, 14 451. Means to promote in young per sons a habit of virtue, 40. Effects, resembling effects may be pro- duced by causes that have no resem- blance, 283.
Efficient cause, of less importance than the final cause, 175.
Electra, of Sophocles censured, 204. Elevation, 110, &c. Real and figurative intimately connected, 114. Figura- tive elevation distinguished from figu- rative grandeur, 333, 334.
Emotion, what feelings are termed emo- tions, 26. Emotions defined, 27, &c. And their causes assigned, 28. Dis- tinguished from passions, 30 Emo- tion generated by relations, 41, &c. Emotions expanded upon related ob- jects, 41, &c. 275. 283. 309. 349, 350. 380. Emotions distinguished into pri- mary and secondary, 43. Raised by fiction, 50, &c. Raised by painting, 54. Emotions divided into pleasant and painful, agreeable and disagree- able, 59, &c. 480. The interrupted ex- istence of emotions, 63, &c. Their growth and decay, 64, &c. Their identity, ib. Coexistent emotions, 67, &c. Emotions similar and dissimilar, 68. Complex emotions, 69, 70. Ef- fects of similar coexistent emotions, 69. 457. Effects of dissimilar coex- istent emotions, 71, 444. Influence of emotions upon our perceptions, opi- nions, and belief, 82, &c. 92, 93. 144. 146. 347. 359. 361. 365, &c. Eino- tions resemble their causes, 94, &c. Emotions of grandeur, 109, &c., of sublimity, 110. A low emotion, 115. Emotion of laughter, ch. vii., of ridi- cule, 138. Emotions when contrasted should not be too slow nor too quick in their succession, 149. Emotions raised by the fine arts ought to be con- trasted in succession, ib. Emotion of congruity, 165, &c., of propriety, 167. Emotions produced by human actions, 172. Ranked according to their dig nity, 173. External signs of emo- tions, ch. xv. Attractive and repul sive emotions, 210. What emotions do best in succession, what in con- junction, 444. What emotions are raised by the productions of manu factures, 451, note. Man is passive
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,
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, 173.
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, 217. 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, 173.
Gallery, why it appears longer than it is
in reality, 446. Is not an agreeable figure of a room, 457. Games, public games 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. 412. 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, 413. 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, nole. General terms, should be avoided in com- positions for amusement, 122. 401. General theorems, why agreeable, 107. Generic habit, defined, 198. Generosity, why of greater dignity than justice, 174.
Genus, defined, 485. Gestures, that accompany the different passions, 205, &c. Gierusalemme Liberata, censured, 422, 423.
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. Figurati 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. 361, &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.
Grief, magnifies its cause, 85. Occa- !
sions a false reckoning of time, 92. | Iambic verse, its modulation faint, 290. Is infections, 95. When immoderate Iambus, 323. 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. |
History, why the history of heroes and conquerors is singularly agreeable, 40. 117. By what means does his- tory raise our passions, 54. It rejects poetical images, 392. History-painting. See Painting. Homer, defective in order and connec- tion, 23. His language finely suited to his subject, 402. His repetitions defended, 406. His poems in a great measure dramatic, 415. Censured,
Horace, defective in connection, 24. His hexameters not melodious, 290. Their defects pointed out, 297. Horror, objects of horror should be ba- nished from poetry and painting, 411. House, a fine house gives lustre to the owner, 43, note.
Human nature, a complicated machine, 27.
Humanity, the finest temper of mind, 62. Humor, defined, 180. Humor in wri- ting distinguished from: humor in cha- racter, ib.
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 imi'ate 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 sometimes by instinct, 31. 47, &c.
Instrument, the means or instrument conceived to be the agent, 365. Intellectual pleasure, 12. Internal sense, 475.
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