ABSTRACTION, power of, 486. Its use,
Abstract terms, ought to be avoided in
poetry, 122, 404.
Cannot be com-
pared but by being personified, 326.
Personified, 351. Defined, 486. The
use of abstract terms, 487.
Accer:, defined, 292. The musical ac-
cents that are necessary in an hexam-
eter line, 296. A low word must not
be accented, 310. Rules for accenting
English heroic verse, 309, 310. How
far affected by the pause, 311. Ac-
cent and pause have a mutual influ-
ence, 312.
Action, what feelings are raised by hu-
man actions; 27. 115. 172. We are
impelled to action by desire, 29. Some
actions are instinctive, some intended
as means to a certain end, 31. Ac-
tions great and elevated, low and gro-
velling, 115. Slowness and quickness
in acting, to what causes owing, 152.
157. Emotions occasioned by pro-
priety of action, 168. Occasioned by
impropriety of action, ib. Human
actions considered with respect to dig-
nity and meanness, 175. Actions the
interpreters of the heart, 208. Action
is the fundamental part of epic and
dramatic compositions, 420. Unity
of action, 429. We are conscious of
internal action as in the head, 475.
Internal action may proceed without
our being conscious of it, ib.
Action and reaction betwixt a passion
and its object, 65.
Actor, bombast actor, 126. The chief
talents of an actor, 203. An actor.
should feel the passion he represents,
217. Difference as to pronunciation
betwixt the French and English ac-
tors, 219, note.
Admiration, 65. 131.
Eneid. See Virgil.
Affectation, 167.
Affection, to children accounted for, 43.
To blood-relations, ib. Affection for
wiat belongs to us, ib. Social affec-
ticns more refined than selfish, 62.
Affection in what manner infamed
into a passion, 65. Opposed to pro-
pensity 67. Affection to children
endures longer than any other affec-
tion, ib. Opinion and belief infr
enced by affection, 88. Affection de
fined, 195. 484.
Agamemnon, of Seneca censured, 231.
Agreeable emotions and passions, 58,
&c. Things neither agreeable nor
disagreeable. See Object.
Alcestes, of Euripides censured, 242
438, 439.
Alexandre, of Racine censured, 225.
Alexandrine line, 298.
Allegory, defined, 370. More difficult
in painting than in poetry, 376. In
an historical poem, 424.
All for Love, of Dryden censured, 235.
Alto Relievo, 459.
Ambiguity, occasioned by a wrong
choice of words, 255; occasioned by
a wrong arrangement, 270.
Amynta, of Tasso censured, 222.
Amor patria, accounted for, 45.
Amphibrachys, 324.
Amphimacer, 324.
Analytic and synthetic methods of rea-
soning compared, 22.
Anapestus, 323.
Anger, explained, 47, &c. Frequently
comes to its height instantaneously,
65. Decays suddenly, 66. Some-
times exerted against the innocent, 85.
and even against things inanimate, ib.
Not infectious, 95. Has no dignity
in it, 175.
Angle, largest and smallest angle of
vision, 92.
Animals, distributed by nature into
classes, 467.
Antibacchius, 324.
Anticlimax, 286.
Antispastus, 324.
Antithesis, 259. Verbal antithesis, 189.
manner in architecture, 119. The si- | Base, of a column, 462.
tuation of a great house ought to be Basso-relievo, 460.
lofty, 166. A playhouse or a music- Batrachomuomachia, censured, 179
room sust ptible of much ornament, Beauty, ch. iii. Intrinsic and relative,
167. What emotions can be raised 103. 449. Beauty of simplicity, 104.
by architecture, 443. Its emotions of figure, ib., of the circle, 105. of the
compared with those of gardening, ib. square, ib., of a regular polygon, 106.
Every building ought to have an ex- of a parallelogram, ib., of an equila-
pression suited to its destination, 444. teral triangle, ib. Whether beauty is
457. Simplicity ought to be the go- a primary or secondary quality of ob-
verning taste, 443. Regularity to be jects, 107. Beauty distinguished from
studied, 445. 454. External form of
grandeur, 110. Beauty of natural
dwelling-houses, 452, 453. Divisions
colors, 161. Beauty distinguished
within, 453. 458, 459. A palace ought from congruity, 166. Consummate
to be regular, but in a small house beauty seldom produces a constant
convenience ought to be preferred, lover, 199. Wherein consists the
452, 453. A dwelling-house ought to beauty of the human visage, 204.
be suited to the climate, 454. Con- Beauty proper and figurative, 482.
gruity ought to be studied, 457. Ar- Behavior, gross and refined, 62.
chitecture governed by principles that Belief, of the reality of external objects,
produce opposite effects, 459, 460. 51. Enforced by a lively narrative.
Different ornaments employed in it, or a good historical painting, 56, 57.
459, 460. Witticisms in architecture, Influenced by passion, 87. 361. In-
464. Allegorical or emblematical or- fluenced by propensity, 88. Influ-
naments, ib. Architecture inspires a enced by affection, ib.
taste for neatness and regularity, 465. Benevolence operates in conjunction
Ariosto, censured, 160. 430.
with self-love to make us happy, 97.
Benevolence inspired by gardening,
451.
ristæus, the episode of Aristaus in the
Georgics censured, 323.
Aristotle, censured, 477, note.
Army, defined, 488.
Arrangement, the best arrangement of
words is to place them if possible in
an increasing series, 252. Arrange-
ment of members in a period, ib. Of
periods in a discourse, 253. Ambi-
guity from wrong arrangement, 270.
273. Arrangement natural and in-
verted, 280, 281.
Articulate sounds, how far agreeable,
248. 250.
Artificial mount, 448.
Arts. See Fine Arts.
Ascent, pleasant, but descent not pain-
ful, 114.
Athalie, of Racine censured, 231.
Attention, defined, 484. Impression
made by objects depends on the degree
of attention, i. Attention not always
voluntary, 485.
Attractive passions, 210.
Attractive objects, 97.
Attractive signs of passion, 210.
Attributes, transferred by a figure of
speech from one subject to another,
365, &c.
Avarice, defined, 29.
Avenue, to a house, 448.
Aversion, defined, 65. 195.
Bacchius, 324.
Bajazet, of Racine censured, 241.
Barren scene, defined, 431.
Berkeley, censured, 477, note.
Blank verse, 298. 315. Its aptitude for
inversion, 317. Its melody, ib. How
far proper in tragedy, 428.
Body, defined, 475.
Boileau, censured, 360. 417.
Bombast, 124. Bombast in action, 126.
Bossu, censured, 432, note.
Burlesque, machinery does well in a
burlesque poem, 57. Burlesque dis-
tinguished into two kinds, 179.
Business, men of middle age best quali
fied for it, 152,
Capital, of a column, 463.
Careless husband, its double plot well
contrived, 426.
Cascade, 129.
Cause, resembling causes may produce
effects that have no resemblance; and
causes that have no resemblance
may produce resembling effects, 283
Cause, defined, 488.
Chance, the mind revolts against misfor
tunes that happen by chance, 418.
Character, to draw a character is the
master-stroke of description, 397, 398.
Characteristics, of Shaftsbury criticised,
167, note.
Children, love to them accounted for, 43.
A child can discover a passion from
its external signs, 211. Hides none
of its emotions, 215
Wonder and Complexion, what colour of dress is the
most suitable to different complexions,
148.
surprise studied in them, 451.
Choreus, 323.
Choriambus, 324.
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.
Cophores, 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-
loring of the human face, exquisite, ib.
Columns, every column ought to have a
base, 94. 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,
4:26. 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
early 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.
4:28.
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,
138.
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. Sce 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.
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.
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, 324.
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, 452,
&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,
51. 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,
63. 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. Emo-
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-
cul, 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 in-
portance, 287. 310.*
Ened, its unity of action. See Virgil.
English plays, generally irregular, 459.
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 divid ng
it into parts, 420.
Epic poetry, ch. xxii.
Epicurus, censured, 477, note.
Episode, in an historical poem, 421.
Requisites, 425
Epistles dedicatory, censured, 165,
sion, what emotions they raise in a
spectator, 209.
Eye-sight, influenced by passion, 93.
111, 115.
Fac, 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, 101. Definition of a
regular figure, 431.
Figures, some passions favourable to
figurativ expression, 237. 335.
Figures, ca. xx. Figure of speech, 353.
370. 379, &c. Figures were of old
much strained, 325.372.
Final cause, defined, 175. Final cause
of our sens of o der and connection,
26., of the sympathetic emotion of
vir ue, 49., of the instinctive passion
of far, 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, 95, &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,
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