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Careless Husband, its double plot well contrived, ii. 355.
Cascade, i. 228.

Cause, resembling causes may produce effects that have no
resemblance; and causes that have no resemblance may
produce resembling effects, ii. 76. Cause defined, ii.

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480.

Chance, the mind revolts against misfortunes that happen
by chance, ii. 338.

Character, to draw a character is the master-stroke of de-
scription, ii. 299.

Characteristics of Shaftesbury criticised, i. 305. note.
Children, love to them accounted for, i. 64. A child can
discover a passion from its external signs, i. 397. Hides
none of its emotions, i. 405.

Chinese gardens, ii. 401. Wonder and surprise studied in
them, ii. 403.

Choreus, ii. 159.

Choriambus, ii. 160.

Chorus, an essential part of the Grecian tragedy, ii. 367.
Church, what ought to be its form and situation, ii. 418.
Cicero censured, ii. 70. 85. 88.

Cid of Corneille censured, i. 418. 443.

Cinna of Corneille censured, i. 307. 414. 440.
Circle, its beauty, i. 183.

Circumstances in a period, where they should be placed,

ii. 53. 60.

Class, all living creatures distributed into classes, ii. 438.
Climax in sense, i. 205. 416. ii. 65. In sound, i. 14. When
these are joined, the sentence is delightful, ii, 81.
Cophores of Eschylus censured, i. 381.

Coexistent emotions and passions, 112.
Colonnade, where proper, ii. 410.

Colour, gold and silver esteemed for their beautiful colours,
i. 180. A secondary quality, i. 187. Natural colours,
i. 294. Colouring of the human face exquisite, i. 294,
Columns, every column ought to have a base, i. 161. The
base ought to be square, i. 162. Columns admit diffe-
rent proportions, ii. 416. 418. What emotions they
raise, ii. 418. Column more beautiful than a pilaster,
ii. 426. Its form, ii. 427. Five orders of columns, ii.
428. Capital of the Corinthian order censured, ii. 429.
Comedy, double plot in a comedy, ii. 354. Modern man-
ners do best in comedy, ii. 340. Immorality of Eng-
fish comedy, i. 50.

Comet, motion of the comets and planets compared with
respect to beauty, i. 227.

Commencement of a work ought to be modest and simple,
ii. 289.

Common nature in every species of animals, i. 97. ii. 438.
We have a conviction that this common nature is inva-
riable, ii. 438. Also that it is perfect or right, i. 97.
ii. 439.

Common sense, ii. 440. 450.

Communication of passion to related objects. See Passion.
Communication of qualities to related objects. See Pro-
pensity.

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Comparison, i. 251. &c. ch. 19. In the early composition
of all nations, comparisons are carried beyond proper
bounds, ii. 163. Comparisons that resolve into a play
of words, ii. 194.

Complex emotion, i. 113.

Complex object, its power to generate passion, i. 68. 216.
Complex perception, ii. 461.

Complexion, what colour of dress is the most suitable to
different complexions, i. 267.

Conception defined, ii. 455.

Concord or harmony in objects of sight, i. 116.
Concordant sounds defined, i. 113.

Congreve censured, i. 51. 331. 388. note. ii. 358. 364.
Congruity and propriety, ch. 10. A secondary relation,
i. 302. note. Congruity distinguished from beauty, i.
304. Distinguished from propriety, i. 304. As to quan-
tity, congruity coincides with proportion, i. 312.
Connexion essential in all compositions, i. 24.

Conquest of Granada of Dryden censured, i. 445.
Consonants, ii. 5.

Constancy, consummate beauty the cause of inconstancy,
i. 373.

Construction of language explained, ii. 38.
Contemplation, when painful, i. 284.

Contempt raised by improper action, i. 247.

Contrast, ch. 8. Its effect in language, ii. 9. In a series

of objects, ii. 12. Contrast in the thought requires con-

trast in the members of the expression, ii. 32. The ef-
fect of contrast in gardening, ii. 402.

Conviction intuitive. See Intuitive conviction.

Copulative, to drop the copulative enlivens the expression,
ii. 35.

Coriolanus of Shakspeare censured, i. 444.
Corneille censured, i. 413. 433. 455. 461..

Corporeal pleasure, i. 1. Low, and sometimes mean,

320.

Couplet, ii. 106. Rules for its composition, ii. 142.
Courage of greater dignity than justice, i. 320.

Creticus, ii. 159.

Criminal, the hour of execution seems to him to approach
with a swift pace, i. 151.

Criticism, its advantages, i. 6. Its terms not accurately

defined, i. 399.

Crowd defined, ii. 475.

Curiosity, i. 233. 250.

Custom puts
Taste in the

Custom and habit, ch. 14. Renders objects familiar, i. 233.
Custom distinguished from habit, i. 359.
the rich and poor upon a level, i. 337.
fine arts improved by custom, ii. 448. note.

Dactyle, ii. 159.

Davila censured, i. 291.

Declensions explained, ii. 39.

Dedications. See Epistles Dedicatory.

Delicacy of taste, i. 100. ii. 447.

Derision, i. 310. 329.

Des Cartes censured, ii. 458. note.
Descent not painful, i. 199.

Description, it animates a description to represent things
past as present, i. 88. The rules that ought to govern
it, ii. 288. A lively description is agreeable, though the
subject described be disagreeable, ii. 319. 320. No ob-
jects but those of sight can be well described, ii. 463.
Descriptive personifications, ii. 209.

Descriptive tragedy, i. 410.

Desire defined, i. 38. It impels us to action, i. 40. It de-
termines the will, i. 164. Desire in a criminal to be
punished, i. 169. Desire tends the most to happiness
when moderate, i. 189.

Dialogue, dialogue-writing requires great genius, i. 408.
In dialogue every expression ought to be suited to the
character of the speaker, ii. 311. Dialogue makes a
deeper impression than narration, ii. 330. Qualified
for expressing sentiments, ii. 333. Rules for it, ii. 357.
Dignity and grace, ch. 11. Dignity of human nature, ii.

441.

Diiambus, ii. 160.

Diphthongs, ii. 5.

Disagreeable emotions and passions, i. 94. &c.

Discordant sounds defined, i. 112.

Dispondeus, ii. 160.

Disposition defined, ii. 470.

Dissimilar emotions, i. 113. Their effects when coexistent
i. 118. ii. 389. 416.

Dissimilar passions, their effects, i. 129.

Dissocial passions, i. 44. All of them painful, i. 97. and
also disagreeable, i. 98.

Distance, the natural method of computing the distance of
objects, i. 154. &c. Errors to which this computation is
liable, ii. 413. 420.

Ditrochæus, ii. 160.

Door, its proportion, ii. 407.

Double action in an epic poem, ii. 362.

Double Dealer of Congreve censured, i. 439. ii. 306,

Double plot in a dramatic composition, ii, 353.

Drama, ancient and modern compared, `ii. 366.
Dramatic poetry, ch. 22.

Drapery ought to hang loose, i. 162.

Dress, rules about dress, i. 305. ii. 387.
Dryden censured, ii. 259. 357. 364.

Duties, moral duties distinguished into those which respect
ourselves and those which respect others, i. 313. Foun-
dation of duties that respect ourselves, i. 313. of those
that respect others, i. 313, Duty of acting up to the
dignity of our nature, i. 318.

Dwelling-house, its external form, ii. 408. Internal form,
ii. 408. 420.

Education promoted by the fine arts, i. 7. ii. 409. Means
to promote in young persons a habit of virtue, i. 58.
Effects, resembling effects may be produced by causes that
have no resemblance, ii. 76. Effect defined, ii. 480.
Efficient cause of less importance than the final cause, i. 322,
Electra of Sophocles censured, i. 382.

Elevation, i. 190, &c. Real and figurative intimately con-
nected, i. 200. Figurative elevation distinguished from
figurative grandeur, ii. 178.

Emotion, what feelings are termed emotions, i. 29. Emo-
tions defined, i. 32, &c. and their causes assigned, i. 32.

Distinguished from passions, i. 36. Emotion generated
by relations, i. 59. Emotions expanded upon related
objects, i. 59. ii. 57. 75. 99. 128. 206. 266. Emotions
distinguished into primary and secondary, i. 63. Raised
by fiction, i. 79. Raised by painting, i. 87. Emotions
divided into pleasant and painful, agreeable and dis-
agreeable, i. 94. ii. 465. The interrupted existence of
emotions, i. 103. Their growth and decay, i. 105, &c.
Their identity, i. 105. Coexistent emotions, i. 112.
Emotions similar and dissimilar, i. 113. Complex emo-
tions, i. 114. Effects of similar coexistent emotions, i.
116. ii. 416. Effects of dissimilar coexistent emotions,
i. 118. ii. 389. Influence of emotions upon our percep-
tions, opinions, and belief, i. 137. 159. 260. 263. ii. 202.
226.229. 237. Emotions resemble their causes, i. 160.
Emotions of grandeur, i. 191. of sublimity, i. 191. A
low emotion, i. 201. Emotion of laughter, ch. 7.; of
ridicule, i. 248. Emotions when contrasted should not
be too slow nor too quick in their succession, i. 270.
Emotions raised by the fine arts ought to be contrasted
in succession, i. 270. Emotion of congruity, i. 300. of
propriety, i. 300. Emotions produced by human ac-
tions, i. 317. Ranked according to their dignity, i. 320.
External signs of emotions, ch. 15. Attractive and re-
pulsive emotions, i. 395. What emotions do best in
succession, what in conjunction, ii. 389. What emo-
tions are raised by the productions of manufactures, ii.
405. note. Man is passive with regard to his emotions,
ii. 453. We are conscious of emotions as in the heart,
ii. 453.

Emphasis defined, ii. 128. note.

Ought never to be but
upon words of importance, ii. 83. 130.
Eneid, its unity of action, ii. 361,

English plays generally irregular, ii. 381. English come-
dies generally licentious, i. 50.

English tongue too rough, ii. 10. In English words the
long syllable is put early, ii. 7. note. English tongue
more grave and sedate in its tone than the French, ii.
133. note. Peculiarly qualified for personification, ii.

208. note.

Entablature, ii. 425.

Envy defined, i. 37.

How generated, i. 107. Why it is
perpetual, i. 110. It magnifies every bad quality in its
object, i. 141.

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