III. The Difference between the removal of

Pain and positive Pleasure

IV. Of Delight and Pleasure, as opposed to

each other

.

125

127

129

134

136

137

138

V. Joy and Grief
VI. Of the Passions which belong to Self-pre-

servation

VII. Of the Sublime
VIII. Of the Passions which belong to Society.
IX. The final cause of the difference between
the Passions belonging to Self-preserva-
tion, and those which regard the Society

XI. Society and Solitude

XII. Sympathy, Imitation, and Ambition
XIII. Sympathy

XIV. The effects of Sympathy in the distresses of

PART II.

SECT.

I. Of the Passion caused by the Sublime
II. Terror

III. Obscurity

166

I. Of Beauty

207

II. Proportion not the cause of Beauty in Ve

getables

209

Animals

III. Proportion not the cause of Beauty in

IV. Proportion not the cause of Beauty in the

Human Species

V. Proportion further considered

214

SECT.

VI. Fitness not the cause of Beauty

VII. The real effects of Fitness

VIII. The Recapitulation

IX. Perfection not the cause of Beauty

X. How far the idea of Beauty may be applied

to the Qualities of the mind.

XI. How far the idea of Beauty may be applied

PAGE.

228

232

235

236

. . 237

XXVI. Taste and Smell

XXVII. The Sublime and Beautiful compared

PART IV.

I. Of the efficient Cause of the Sublime and

Beautiful

II. Association

III. Cause of Pain and Fear

IV. Continued

V. How the Sublime is produced

VI. How Pain can be a cause of Delight

VII. Exercise necessary for the finer Organs

VIII. Why things not dangerous sometimes pro-

duce a passion like Terror

272

SECT.

PAGE.

IX. Why Visual Objects of great dimensions are

Sublime

X. Unity, why requisite to Vastness

XI. The artificial Infinite

XII. The Vibrations must be similar

XIII. The effects of Succession in visual objects

explained

XIV. Locke's opinion concerning Darkness, consi-

dered

XV. Darkness terrible in its own nature

XVI. Why Darkness is terrible

XVII. The effects of Blackness

XVIII. The effects of Blackness moderated

XIX. The physical Cause of Love.

XX. Why Smoothness is Beautiful

XXI. Sweetness, its nature

XXII. Sweetness relaxing

XXIII. Variation, why beautiful

XXIV. Concerning Smallness

XXV. Of Colour

275

276

278

PART V.

I. Of Words

II. The common Effect of Poetry, not by raising

309

V. Examples that Words may affect without

VI. Poetry not strictly an imitative art

VII. How Words influence the Passions

PREFACE.

I HAVE endeavoured to make this edition something more full and satisfactory than the first. I have sought with the utmost care, and read with equal attention, everything which has appeared in public against my opinions; I have taken advantage of the candid liberty of my friends; and if by these means I have been better enabled to discover the imperfections of the work, the indulgence it has received, imperfect as it was, furnished me with a new motive to spare no reasonable pains for its improvement. Though I have not found sufficient reason, or what appeared to me sufficient, for making any material change in my theory, I have found it necessary in many places to explain, illustrate, and enforce it. I have prefixed an introductory discourse concerning Taste: it is a matter curious in itself; and it leads naturally enough to the principal inquiry. This, with the other explanations, has made the work considerably larger; and by increasing its bulk has, I am afraid, added to its faults; so that, notwithstanding all my attention, it may stand in need of a yet greater share of indulgence than it required at its first appearance.