sions, we always employ abstract terms, even in thinking; it would be as difficult to reason without them, as to perform operations in algebra without signs; for there is scarce any reasoning without some degree of abstraction, and we cannot easily abstract without using abstract terms. Hence it follows, that without language man would scarce be a rational being.
45. The same thing, in different respects, has different names. With respect to certain qualities it is termed a substance; with respect to other qualities, a body; and with respect to qualities of all sorts, a subject. It is termed a passive subject with respect to an action exerted upon it; an object with respect to a percipient; a cause with respect to the effect it produces; and an effect with respect to its
The Volumes are denoted by numeral letters, the Pages by figures.
ABSTRACTION, power of, ii. 476. Its use, ii. 476. Abstract terms ought to be avoided in poetry, i. 215. ii. 312. Cannot be compared but by being personified, ii. 165. Personified, ii. 209. Defined, ii. 475. The use of abstract terms, ii. 476.
Accent defined, ii. 92. The musical accents that are ne- cessary in an hexameter line, ii. 103. A low word must not be accented, ii. 130. Rules for accenting English heroic verse, ii. 129. How far affected by the pause, ii. 133. Accent and pause have a mutual influ-
ence, ii. 136. Action, what feelings are raised by human actions, i. 33. 201. 317. We are impelled to action by desire, i. 35. Some actions are instinctive, some intended as means to a certain end, i. 38. Actions great and elevated, low and grovelling, i. 202. Slowness and quickness in act- ing, to what causes owing, i. 275. 286. Emotions occa- sioned by propriety of action, i. 307. Occasioned by impropriety of action, i. 308. Human actions consider- ed with respect to dignity and meanness, i. 323. Ac- tions the interpreters of the heart, i. 391. Action is the fundamental part of epic and dramatic compositions, ii. 342. Unity of action, ii. 361. We are conscious of internal action as in the head, ii. 453. Internal action may proceed without our being conscious of it, ii. 453. Action and reaction betwixt a passion and its object, i. 108. Actor, bombast actor, i, 224. The chief talents of an ac-
tor, i. 387. An actor should feel the passion he repre- sents, i. 410. Difference as to pronunciation betwixt the French and English actors, i. 414. note. Admiration, i. 108. 233.
Affection to children accounted for, í. 64. To blood-re- lations, i. 64. Affection for what belongs to us, i. 65. Social affections more refined than selfish, i. 101. Affec- tion, in what manner inflamed into a passion, i. 106. Opposed to propensity, i. 110. Affection to children endures longer than any other affection, i. 111. Opi- nion and belief influenced by affection, i. 149. Affec- tion defined, i. 364. ii. 470.
Agamemnon of Seneca censured, i. 439.
Agreeable emotions and passions, i. 94. &c. Things nei- ther agreeable nor disagreeable. See Object.
Alcestes of Euripides censured, i. 460. ii. 377. 379. Alexandre of Racine censured, i. 427.
Alexandrine line, ii. 106.
Allegory defined, ii. 246. More difficult in painting than in poetry, ii. 259. In an historical poem, ii. 350. All for Love of Dryden censured, i. 446.
Ambiguity occasioned by a wrong choice of words, ii. 16. Occasioned by a wrong arrangement, ii. 47.
Amynta of Tasso censured, i. 419.
Amor patriæ accounted for, i. 68.
Amphibrachys, ii. 159.
Amphimacer, ii. 159.
Analytic and synthetic methods of reasoning compared, i.
Anger explained, i. 73. &c. Frequently comes to its height instantaneously, i. 107. Decays suddenly, i. 110. Sometimes exerted against the innocent, i. 143. and even against things inanimate, i. 143. Not infec- tious, i. 163. Has no dignity in it, i. 321.
Angle, largest and smallest angle of vision, i. 157. Animals distributed by nature into classes, ii. 438.
Antibacchius, ii. 159.
Anticlimax, ii. 81.
Antispastus, ii. 160.
Antithesis, ii. 24. Verbal antithesis, i. 352. ii. 25. Apostrophe, ii. 226, &c.
Appearance, things ought to be described in poetry, as they appear, not as they are in reality, ii. 290.
Appetite defined, i. 39. Appetites of hunger, thirst, ani- mal love, arise without an object, i. 57. Appetite for fame or esteem, i. 173.
Apprehension, dulness and quickness of apprehension, to what causes owing, i. 275. Architecture, ch. 24. Grandeur of manner in architec- ture, i. 215. The situation of a great house ought to be lofty, i. 303. A playhouse or a music-room susceptible of much ornament, i. 305, What emotions can be rais- ed by architecture, ii. 385. Its emotions compared with those of gardening, ii. 386. Every building ought to have an expression suited to its destination, ii. 386. 417. Simplicity ought to be the governing taste, ii. 387. Re- gularity to be studied, ii. 391. 411. External form of dwelling-houses, ii. 408. Divisions within, ii. 408. 420. A palace ought to be regular, but in a small house con- venience ought to be preferred, ii. 406. 408. A dwell- ing-house ought to be suited to the climate, ii. 410. Congruity ought to be studied, ii. 417. Architecture governed by principles that produce opposite effects, ii. 421. Different ornaments employed in it, ii. 422. Witticisms in architecture, ii. 431. Allegorical or em- blematic ornaments, ii. 431. Architecture inspires a taste for neatness and regularity, ii. 434.
Ariosto censured, i. 291. ii. 363.
Aristæus, the episode of Aristaus in the Georgics censur- ed, ii. 157.
Aristotle censured, ii. 457. note. Army.defined, ii. 479.
Arrangement, the best arrangement of words is to place them if possible in an increasing series, ii. 12. Arrange- ment of members in a period, ii. 13. Of periods in a discourse, ii. 14. Ambiguity from wrong arrangement, ii. 47. Arrangement natural and inverted, ii. 71. Articulate sounds, how far agreeable, ii. 4. Artificial mount, ii. 398.
Ascent pleasant, but descent not painful, i. 199. Athalie of Racine censured, i. 439.
Attention defined, ii. 471. Impression made by objects depends on the degree of attention, ii. 471. Attention not always voluntary, ii. 473.
Attractive passions, i. 396.
Attractive objects, i. 166.
Attractive signs of passion, i. 395.
Attributes transferred by a figure of speech from one sub- ject to another, ii. 238.
Avarice defined, i. 36.
Avenue to a house, ii. 397.
Aversion defined, i. 107. 364. ii. 471.
Bajazet of Racine censured, i. 457.
Barren scene defined, ii. 364. Base of a column, ii. 427.
Basso relievo, ii. 423.
Batrachomuomachia censured, i. 381. Beauty, ch. 3.
Intrinsic and relative, i. 178. ii. 447. Beauty of simplicity, i. 180. of figure, i. 181. of the cir- cle, i. 183. of the square, i. 183. of a regular polygon, i. 183. of a parallelogram, i. 184. of an equilateral triangle, i. 184. Whether beauty be a primary or se- condary quality of objects, i. 187. Beauty distinguish- ed from grandeur, i. 193. Beauty of natural colours, i. 294. Beauty distinguished from congruity, i. 304. Consummate beauty seldom produces a constant lover, i. 373. Wherein consists the beauty of the human visage, i. 383. Beauty proper and figurative, ii. 466. Behaviour, gross and refined, i. 101.
Belief of the reality of external objects, i. 79. Enforced by a lively narrative, or a good historical painting, i. 91. Influenced by passion, i. 146. ii. 202. 230. Influenced by propensity, i. 148. Influenced by affection, i. 149. Benevolence operates in conjunction with self-love to make us happy, i. 167. Benevolence inspired by gardening, ii. 404.
Berkeley censured, ii. 458. note.
Blank verse, ii. 105. 142. Its aptitude for inversion, ii. 144. Its melody, ii. 145. How far proper in tragedy,
Body defined, ii. 453.
Boileau censured, ií. 225. 345.
Bombast, i. 220. Bombast in action, i. 224.
Bossu censured, ii. 366. note.
Burlesque machinery does well in a burlesque poem, i. 93.
Burlesque distinguished into two kinds, i. 329.
Business, men of middle age best qualified for it, i. 276.
Cadence, ii. 83. 92.
-Capital of a column, ii. 427.
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