Epic poem, no improbable fact ought to be admitted, i. 92.
Machinery in it has a bad effect, i. 92. It doth not
always reject ludicrous images, i. 273. Its commence-
ment ought to be modest and simple, ii. 289. In what
respect it differs from a tragedy, ii. 328. Distinguished
into pathetic and moral, ii. 331. Its good effects, ii.
332. Compared with tragedy as to the subjects proper
for each, ii. 333. How far it may borrow from history,
ii. 339. Rule for dividing it into parts, ii. 341.
Epic poetry, ch. 22.

Epicurus censured, ii. 456. note.

Episode in an historical poem, ii. 350. Requisites, ii. 351.
Epistles dedicatory censured, i. 301. note.

Epithets, redundant, ii. 320.

Epitritus, ii. 161.

Essay on Man criticised, ii. 157.

Esteem, love of, i. 173. 209.

Esther of Racine censured, i. 439. 443.

Eunuch of Terence censured, i. 460.

Euripides censured, i. 460. ii. 377.

Evergreens cut in the shape of animals, ii. 395.

Experience, effect of, with respect to taste in the fine arts,
ii. 448. note.

Expression, elevated, low, i. 201. Expression that has no
distinct meaning, i. 468. Members of a sentence ex-
pressing a resemblance between two objects, ought to
resemble each other, ii. 29. Force of expression by sus-
pending the thought till the close, ii. 67.

External objects, their reality, i. 79. -

External senses distinguished into two kinds, i. 1. Exter-
nal sense, ii. 451.

External signs of emotions and passions, ch. 15. External
signs of passion, what emotions they raise in a spectator,
i. 95.

Eye-sight influenced by passion, i. 159. 259. 261.

Face, though uniformity prevail in the human face, yet
every face is distinguishable from another, i. 298.
Faculty by which we know passion from its external signs,

i. 397.

Fairy Queen criticised, ii. 253.

False quantity painful to the ear, ii. 109.
Fame, love of, i. 173.

Familiarity, its effect, i. 106. 233. ii. 267. It wears off by
absence, i. 241.

Fashion, its influence accounted for, i. 62. Fashion is in
a continual flux, i. 186.

Fear explained, i. 73. Rises often to its utmost pitch in
an instant, i. 107. Fear arising from affection or aver-
sion, i. 107. Fear is infectious, i. 163.

Feeling, its different significations, ii. 455.

Fiction, emotions raised by fiction, i. 79.

Figure, beauty of, i. 181. Definition of a regular figure,

11. 466.

Figures, some passions favourable to figurative expression,
i. 449. ii. 181.

Figures, ch. 20. Figure of speech, ii. 213. 246. 264, &c.
Figures were of old much strained, ii. 163. 251.
Final cause defined, i. 323. Final cause of our sense of
order and connexion, i. 28.; of the sympathetic emotion
of virtue, i. 58.; of the instinctive passion of fear, i. 73.;
of the instinctive passion of anger, i. 75.; of ideal pre-
sence, i. 90.; of the power that fiction has over the mind,
i. 91.; of emotions and passions, i. 164.; of the commu-
nication of passion to related objects, i. 174.; of regula-
rity, uniformity, order, and simplicity, i. 181.; of pro-
portion, i. 182.; of beauty, i. 187. Why certain objects
are neither pleasant nor painful, i. 198. 226.; of the
pleasure we have in motion and force, i. 232.; of curio-
sity, i. 233.; of wonder, i. 243.; of surprise, i. 244.; of
the principle that prompts us to perfect every work, i.
265.; of the pleasure or pain that results from the diffe-
rent circumstances of a train of perceptions, i. 286.; of
congruity and propriety, i. 313.; of dignity and mean-
ness, i. 323.; of habit, i. 375.; of the external signs of
passion and emotion, i. 389. 398. Why articulate
sounds singly agreeable are always agreeable in conjunc-
tion, ii. 5.; of the pleasure we have in language, ii. 322.
of our relish for various proportions in quantity, ii. 412.
Why delicacy of taste is withheld from the bulk of man-
kind, ii. 437.; of our conviction of a common standard
in every species of beings, ii. 441.; of uniformity of
taste in the fine arts, ii. 442. 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, ii. 445. Final cause of
greater importance than the efficient cause, i. 322.

Fine arts defined, i. 5. 12. A subject of reasoning, i. 6.
Fine arts, education promoted by the, i. 7. ii. 405.

The

fine arts a great support to morality, i. 7. fi. 405. 433.
Their emotions ought to be contrasted in succession, i.
270. Uniformity and variety in the fine arts, i. 289.
Considered with respect to dignity, i. 322. How far
they may be regulated by custom, i. 378. None of them
are imitative but painting and sculpture, ii. 1. Aberra-
tions from a true taste in these arts, ii. 443.
Who qua-
lified to be judges in the fine arts, ii. 447.
Fluid, motion of fluids, i. 228.

Foot, the effect that syllables collected into feet have upon
the ear, ii. 35. Musical feet defined, ii. 94. note. A list
of verse-feet, ii. 159.

Force produces a feeling that resembles it, i. 160. Force,
ch. 5.

Force, moving, i. 228. Force gives a pleasure differing
from that of motion, i. 228. It contributes to grandeur,
i. 230.

Foreign, preference given to foreign curiosities, i. 241.
Fountains, in what form they ought to be, ii. 398.

French dramatic writers criticised, i, 413. note, 439. ii. 381.
French verse requires rhyme, ii. 154.

French language more lively to the ear than the English,
ii. 133. note. In French words the last syllable gene-
rally long and accented, ii. 133. note.

Friendship considered with respect to dignity and mean-
ness, i. 321,

Its

Gallery, why it appears longer than it is in reality, ii. 393.
Is not an agreeable figure of a room, ii. 417.
Games, public games of the Greeks, i. 229.
Gardening, a fine garden gives lustre to the owner, i. 63.
note. Grandeur of manner in gardening, i. 215.
emotions ought to be contrasted in succession, i, 271.
A small garden should be confined to a single expres-
sion, i, 271. ii. 385. A garden near a great city should
have an air of solitude, i. 272. A garden in a wild
country should be gay and splendid, i. 272. Garden-
ing, ch. 24. What emotions can be raised by it, ii. 385.
Its emotions compared with those of architecture, ii. 386.
Simplicity ought to be the governing taste, ii. 387.
Wherein the unity of a garden consists, ii. 390. How

far should regularity be studied in it, ii. 391. Resem-
blance carried too far in it, ii. 391. note. Grandeur in
gardening, ii. 391. Every unnatural object ought to be
rejected, ii. 394. Distant and faint imitations displease,
ii. 395. Winter-garden, ii. 400. The effect of giving
play to the imagination, ii. 403. Gardening inspires
benevolence, ii. 404. And contributes to rectitude of
manners, ii. 433.

General idea, there cannot be such thing, ii. 461. note.
General terms should be avoided in compositions for
amusement, i. 215. ii. 312.

General theorems, why agreeable, i. 185.
Generic habit defined, i. 369.

Generosity, why of greater dignity than justice, i. 319.
Genus defined, ii. 474.

Gestures that accompany the different passions, i. 385.
Gierusalemme Liberata censured, ii. 346. 351.
Globe a beautiful figure, i. 292.

Good-nature, why of less dignity than courage or genero-
sity, i. 319.

Gothic tower, its beauty, ii. 408. Gothic form of build-
ings, ii. 419.

Government, natural foundation of submission to govern-
ment, i. 173.

Grace, ch. 11. Grace of motion, i. 231. Grace analyzed,
i. 325.

Grandeur and sublimity, ch. 4. Distinguished from beauty,
i. 193. Grandeur demands not strict regularity, i. 194.
Regularity, order, and proportion, contribute to gran-
deur, i. 193. Real and figurative grandeur intimately
connected, i. 203. Grandeur of manner, i. 210. Gran
deur may be employed indirectly to humble the mind,
i. 218. Suits ill with wit and ridicule, i. 272. Fixes
the attention, i. 277. Figurative grandeur distinguish-
ed from figurative elevation, ii. 178. Grandeur in gar-
dening, ii. 391. Irregularity and disproportion increase
in appearance the size of a building, ii. 421.

Gratification of passion, i. 41. 52. 135. 256. ii. 202. 226.
229. Obstacles to gratification inflame a passion, i. 109.
Gratitude, considered with respect to its gratification,
i. 110. Exerted upon the children of the benefactor,
i. 140. Punishment of ingratitude, i. 316. Gratitude
considered with respect to dignity and meanness, i. 321.

Greek words, finely composed of long and short syllables,
ii. 149.

Grief magnifies its cause, i. 142. Occasions a false reckon-
ing of time, i. 156. Is infectious, i. 163.
Is infectious, i. 163. When immo-
derate is silent, i. 447.

Gross pleasure, i. 101.

Groups, natural objects readily form themselves into
groups, i. 299.

Guido censured, ii. 260.

Har-

Habit, ch. 14. Prevails in old age, i. 276. Habit of ap-
plication to business, i. 281. 284. 288. Converts pain
into pleasure, i. 288. Distinguished from custom,
i. 359. Puts the rich and poor upon a level, i. 377.
Harmony or concord in objects of sight, i. 116.
mony distinguished from melody, ii. 89. note.
Hatred, how produced, i. 107. Signifies more commonly
affection than passion, i. 108. Its endurance, i. 110.
Hearing, in hearing we feel no impression, ii. 456.
Henriade censured, ii. 295. 340. 346. 851.

Hexameter, Virgil's hexameters extremely melodious, those
of Horace seldom so, ii. 89. And the reason why they
are not, ii. 105. Structure of an hexameter line, ii. 94.
Rules for its structure, ii. 94. Musical pauses in an
hexameter line, ii. 94. note. Wherein its melody con-

sists, ii. 105.
Hiatus defined, ii. 7.

Hippolytus of Euripides censured, i. 441. ii. 377. 379.
History, why the history of heroes and conquerors so sin-
gularly agreeable, i. 57. 206. By what means does his-
tory raise our passions, i. 86. It rejects poetical images,
ii. 289.

History painting. See Painting.

Homer defective in order and connexion, i, 24. His lan-
guage finely suited to his subject, ii. 309. His repeti-
tions defended, ii. 317. His poems in a great measure
dramatic, ii. 330. Censured, ii. 349.

Hope, i. 108.

Horace defective in connexion, i. 24. His hexameters
not melodious, ii. 89. Their defects pointed out, ii. 105.
Horror, objects of horror should be banished from poetry
and painting, ii. 225.

House, a fine house gives lustre to the owner, i. 63. note.