Human nature a complicated machine, i. 30.
Humanity the finest temper of mind, i. 101.
Humour defined, i. 331. Humour in writing distinguish
ed from humour in character, i. 332.
Hyperbole, i. 220. ii. 229.
Hippobacchius, ii. 159.
Iambic verse, its modulation faint, ii. 89.
Iambus, ii. 159.
Jane Shore censured, i. 419. 432.
Idea not so easily remembered as a perception is, i. 154.
Succession of ideas, i. 274. Pleasure and pain of ideas
in a train, i. 282. Idea of memory defined, ii. 456.
Cannot be innate, ii. 461. note. There are no general
ideas, ii. 461. note. Idea of an object of sight more dis-
tinct than of any other object, ii. 463. Ideas distin-
guished into three kinds, ii. 464. Ideas of imagination
not so pleasant as ideas of memory, ii. 469.
Ideal presence, i. 81. raised by theatrical representation,
i. 87. raised by painting, i. 87.
Ideal system, ii. 457. note.
Identity of a passion or of an emotion, i. 104.
Jet d'eau, i. 229. ii. 394. 396.
Jingle of words, ii. 142. 150.
Iliad criticised, ii. 362.
Images the life of poetry and rhetoric, i. 84. 90. 216.
Imagination the great instrument of recreation, i. 245. To
give play to it has a good effect in gardening, ii. 403.
Its power in fabricating images, ii. 464. 469. Agree-
ableness of ideas of imagination, ii. 469.
Imitation, we naturally imitate virtuous actions, i. 163.
Not those that are vicious, i. 163. Inarticulate sounds
imitated in words, ii. 73. None of the fine arts imitate
nature except painting and sculpture, ii. 1. The agree-
ableness of imitation overbalances the disagreeableness
of the subject, ii. 321. Distant and faint imitations dis-
please, ii. 395.
Impression made on the organ of sense, i. 1. ii. 455. Suc-
cessive impressions, ii. 12.
Impropriety in action raises contempt, i. 247. Its punish-
ment, i. 309.
Impulse, a strong impulse succeeding a weak, makes a
double impression: a weak impulse succeeding a strong,
makes scarce any impression, ii. 12.
Infinite series becomes disagreeable when prolonged,
i. 264. note.
Innate idea, there cannot be such a thing, ii. 461. note.
Instinct, we act sometimes by instinct, i. 40. 73.
Instrument, the means or instrument conceived to be the
agent, ii. 237.
Intellectual pleasure, i. 2.
Internal sense, ii. 451.
Intrinsic beauty, i. 178.
Intuitive conviction of the veracity of our senses, i. 79. of
the dignity of human nature, i. 319. ii. 442. of a com-
mon nature or standard in every species of beings, ii.
438. of this standard being invariable, ii. 438. and of
its being perfect or right, ii. 438. Intuitive conviction
that the external signs of passion are natural, and also
that they are the same in all men, i. 396.
Intuitive knowledge of external objects, i. 79.
Inversion and inverted style described, ii. 43. Inversion
gives force and liveliness to the expression by suspend-
ing the thought till the close, ii. 67. Inversion how re-
gulated, ii. 71. Beauties of inversion, ii. 71. Inversion
favourable to pauses, ii. 120. Full scope for it in blank
verse, ii. 144.
Involuntary signs of passion, i. 384. 389.
Joy, its cause, i. 52. 108. Infectious, i. 163. Considered
with respect to dignity and meanness, i. 321.
Iphigenia of Racine censured, i. 380.
Iphigenia in Tauris censured, i. 460. ii. 378, 679.
Irony defined, i. 336.
Italian tongue too smooth, ii. 9. note. Italian words finely
diversified by long and short syllables, ii. 7. note.
Judgment and memory in perfection, seldom united, i. 19.
Judgment seldom united with wit, i. 19.
Julius Cæsar of Shakespeare censured, i. 444.
Justice of less dignity than generosity or courage, i. 319.
Kent, his skill in gardening, ii. 403.
Key-note, ii. 83. 92.
Kitchen garden, ii. 383.
Knowledge, intuitive knowledge of external objects, i. 79.
Its pleasures never decay, i. 376.
Labyrinth in a garden, ii. 396.
Landscape, why so agreeable, i. 115. 299. More agree-
able when comprehended under one view, ii. 394. A
landscape in painting ought to be confined to a single
expression, i. 272. Contrast ought to prevail in it, i.
Language, power of language to raise emotions, whence
derived, i. 84. 90. Language of passion, ch. 17. Ought
to be suited to the sentiments, i. 406. 449. broken and
interrupted, i. 448.; of impetuous passion, i. 451. of lan-
guid passion, i. 451. of calm emotions, i. 452. of turbu-
lent passions, i. 452. Examples of language elevated
above the tone of the sentiment, i. 462. Of language
too artificial or too figurative, i. 463. too light or airy,
i. 463. Language how far imitative, ii. 1. Its beauty
with respect to signification, ii. 3. 14. Its beauty with
respect to sounds, ii. 4. It ought to correspond to the
subject, ii. 20. 304. Its structure explained, ii. 38.
Beauty of language from a resemblance betwixt sound
and signification, ii. 2. 73. The character of a language
depends on the character of the nation whose language
it is, ii. 133. note. The force of language consists in
raising complete images, i. 90. ii. 292. Its power of
producing pleasant emotions, ii, 321. Without lan-
guage man would scarce be a rational being, ii. 480.
Latin tongue finely diversified with long and short sylla-
bles, ii. 149.
L'Avare of Moliere censured, i. 442.
Laughter, i. 245.
Laugh of derision or scorn, i, 310.
Law defined, i. 313.
Laws of human nature, necessary succession of perceptions,
i. 15. 274. We never act but through the impulse of
desire, i. 38. 164. An object loses its relish by familia-
rity, i. 106. Passions sudden in their growth are equal-
ly sudden in their decay, i. 109. 366. Every passion
ceases upon obtaining its ultimate end, i. 110.
agreeable cause produceth always a pleasant emotion,
and a disagreeable cause a painful emotion, i. 165.
Laws of motion agreeable, i. 186.
Les Freres Ennemies of Racine censured, i. 426.
Lewis XIV. of France censured, i. 301. note.
Lex talionis, upon what principle founded, i. 267.
Line, definition of a regular line, ii. 466.
Littleness is neither pleasant nor painful, i. 198. Is con-
nected with respect and humility, i. 386. note.
Livy censured, ii. 16.
Locke censured, ii. 458. note.
The love a man
Love produced
It signifies more
Love inflamed
Logic, cause of its obscurity and intricacy, i. 399.
Logio improper in this climate, ii. 410.
Love to children accounted for, i. 64.
bears to his country explained, i. 68.
by pity, i. 72. Love gradual, i. 107.
commonly affection than passion, i. 107.
by the caprices of a mistress, i. 109. Its endurance, i.
109. To a lover absence appears long, i. 150. Love
assumes the qualities of its object, i. 162. when exces-
sive becomes selfish, i. 189. considered with respect to
dignity and meanness, i. 320. seldom constant when
founded on exquisite beauty, i. 373. ill represented in
French plays, i. 439. when immoderate is silent, i. 448.
Love for love censured, ii. 364.
Lowness is neither pleasant nor painful, i. 198.
Lucan too minute in his descriptions, i. 214. censured, ii.
Ludicrous, i. 245. may be introduced into an epic poem,
i. 273.
Lutrin censured for incongruity, i. 304. characterized, i.
Luxury corrupts our taste, ii. 446.
Machinery ought to be excluded from an epic poem, i. 92.,
ii. 344. does well in a burlesque poem, i. 93.
Malice, how generated, i. 107. Why it is perpetual, i.
Man, a benevolent as well as a selfish being, i. 166. fitted
for society, i. 174. Conformity of the nature of man to
his external circumstances, i. 199. 226. 232. 298. 401.
Man intended to be more active than contemplative, i.
322. The different branches of his internal constitution
finely suited to each other, ii. 413. 443.
Manners, gross and refined, i. 101. The bad tendency of
rough and blunt manners, i. 400. note. Modern man-
ners make a poor figure in an epic poem, ii. 340.
Manufactures, the effect of their productions with respect
to morality, ii. 405. note.
Marvellous in epic poetry, ii. 349.
Means, the means or instrument conceived to be the agent,
ii. 387.
Measure, natural measure of time, i. 149. &c. of space,
Meaux, Bishop of, censured, i. 270.
Medea of Euripides censured, ii. 378.
Melody or modulation defined, ii. 88. distinguished from
harmony, ii. 89. note. In English heroic verse are four
different sorts of melody, ii. 110. 132. Melody of blank
verse superior to that of rhyme, and even to that of hex-
ameter, ii. 145.
Members of a period have a fine effect placed in an increas-
ing series, ii. 13.
Memory and judgment in perfection seldom united, i. 19.
Memory and wit often united, i. 19. greater with respect
to perceptions than ideas, i. 152. Memory, ii. 456.
Merry Wives of Windsor, its double plot well contrived,
ii. 355.
Metaphor, ii. 243. &c. In early compositions of nations
we find metaphors much strained, ii. 251.
Mile, the computed miles are longer in a barren than in a
populous country, i. 155.
Milton, his style much inverted, ii. 145. The defect of his
versification is the want of coincidence betwixt the pauses
of the sense and sound, ii. 148. The beauty of Milton's
comparisons, ii. 174.
Moderation in our desires contributes the most to happi-
ness, i. 189.
Modern manners make a poor figure in an epic poem, ii.
Modification defined, ii. 474.
Modulation defined, ii. 88.
Molossus, ii. 159.
Monosyllables, English, arbitrary as to quantity, ii. 107.
Moral duties. See Duties.
Morality, a right and a wrong taste in morals, ii. 439.
Aberrations from its true standard, ii. 445.
Moral sense, i. 34. Our passions as well as actions are
governed by it, i. 98.
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