47. Extravagance in Invention.

48. Truth in Action and Gesture. Greek Artists.

Michael Angelo.

49. Reasons for his Deviation from it. Abstract Form.

50. Character and Expression of Form.

51. Raphael's Vision of Ezekiel. Salvator Rosa's

Witch of Endor.

52. Titian, Rubens, Rembrandt.

53. Difference of Character between Sculpture and

Painting.

54. Similar to that between Epic and Dramatic

Poetry.

55. Homeric Heroes, how far suited to the Stage.

56. Reasons for Horace's recommending them. His

Character of Achilles examined.

57. Ulysses of Euripides, and Æneas of Virgil.

58. Judgment of Virgil.

59. His peculiar Excellence.

PART III. OF THE PASSIONS, p. 315.

CHAP. I. OF THE SUBLIME AND PATHETIC.

1. Sympathy.

2. Semblance of Truth.

3. Mr. Burke's Opinion.

4. Examined as to

5. Fiction and Reality.

6. Degrees of Sympathy. Romans. Asiatics.

7. Sympathies with Exertion, not with Suffering,
11. Attending Executions.

12. Stoic Opinion of the Deity.

13. Passive and Active Fortitude. Combats; Cock-

fighting; Bull-baiting; and Boxing.

14. Tragedy and Comedy; their radical Difference.

15. Dramatic Distress always known to be fictitious.

16. Terror and Pity.

17. Longinus's Opinion. Ecstacy.

18. Selfish Sufferings not tragic.

19. Energetic Passions sublime.

20. Rapture. Enthusiasm. Love.

21. Hatred. Malignity.

22. Fortitude. The Laocoon.

23. Sculpture and Poetry; their comparative Influ-

ence on the Passions.

24. Acting and Reading.

25. Energies of Reason and Passion. Cato. Achilles.

26. Passion in Poetry may be too reasonable.

27. Madness. Folly. Perverted Energy. Weakness.

28. Morality of Tragedy.

29. False Terrors of Horace, what.

30. No Terror felt at Dramatic Exhibitions.

31. Pity melting the Mind to Love.

32. Only when Sympathy is with Energies of Mind.

33. Active and Passive Courage.

34. Weakness. False Delicacy.

35. Timidity. Modesty.

36. Pliability. Stubbornness. Themistocles.

37. Tenacity in Trifles.

38. Sublime and Pathetic, how connected; both

energetic. Macbeth.

39. Otway's Venice Preserv'd. Shakespeare's Julius

41. Pathetic must be sublime.

42. Extreme Suffering. Horror.

43. Selfish Passions.

44. Distress remote from Self. Milton's Satan.

45. Remembrances of past Sufferings.

46. Power.

47. Infinity. Extent. Vastness.

48. Magnificence. Richness. Splendor.

49. Darkness. Vacuity. Silence.

50. Storms. Earthquakes. Volcanos, &c.

51. Power and Terror.

52. Passage of Virgil.

53-

of Lucretius.

54. Superstition and Enthusiasm.

55. Their Principles in common Observation.

56. Plague. Pestilence. Famine. Discord, &c.

57. Terror in the Character of Achilles.

58. Augmentatives and emphatical Expletives de-

rived from Terror.

59. Pain and Terror not Sources of the Sublime.

60. Mr. Burke's Philosophy on the Subject.

61. Not clearly understood by himself.

62. Leads to Materialism.

63. His progressive Scale of the Sublime.

64. Contrary in its Principles to the System of Lon-

ginus and all others known.

65. Considered in its different Graduations of Re-

spect, Awe.

66. Astonishment and Terror, as applicable to him-

self.

67. Deduction from it.

68. Treatise on Oriental Gardening; Experiments
70. Noxious and Innocent; Tame and Wild Ani-

mals. Game Cock.

71. Dog.

72. Ulysses's Dog.

73. Destroying and preserving Powers compared, as

to Energy.

74. - as to the Effect of that Energy in the Sublime.

75. Description and Reality compared.

76. Illustrated by Virgil's Bees, and

77. By Homer's Moor Fowl.

78. Acquired Tastes.

79. Passage of Horace explained.

80. Mr. Burke's Opinion of Description examined.

81. Obscurity. Things distinct and Things deter-

minate.

$2. Energies. Images. Virgil's forging of the
Thunderbolts. Homer's Girdle of Venus.

83. Consequences of Obscurity being thought su-

blime.

84. Impassioned Modes of Speech. Ideas. Ossian.

85. Sound Sense and Mental Energy in Character.

86. in Description.

87. Enthusiastic Language. Heroic Style,

88. Lyric Style. Pindar. Sophocles. Gray.

89. Milton's Imagery sometimes obscure; not so in

the Instance quoted by Mr. Burke.

90. Where really so, faulty. Instance.

91. Influence of Authority.

92. Images limited; Mental Energies not.

93. Instances and Illustrations.

94. Exceptions.

95. Comparative Influence of Music on the Passions.

96. Fabulous Stories concerning it.

b

97. Homeric Music.
98. Fanciful Theories.

CHAP. I. OF THE RIDICULOUS.

1. Laughter; its Nature and Causes.

2. Comedy as opposed to Tragedy, in Manners.

3. In the Passions.

4. In Attitude and Countenance. Raphael. Rem-

brandt.

5. Wit, as opposed to Judgment; as exciting Mirth.

6. Ludicrous, as opposed to sublime Imagery.

7. Humour.

8. Parodies.

9. Incongruities in Dress, Deportment, and Dialect.

10. Mimicry.

11. Good Nature and Good Humour, wherein dif-

ferent.

12. Sympathy in Joy. Contrast.

13. Selfish Passions ludicrous.

14. Morality of Comedy, in the prudential Concerns

of Life.

15. In Love and Marriage.

16. In the domestic relations of Parent and Child,

&c.

17. More immoral than Tragedy, but equally inef-

fective.

CHAP. III. OF NOVELTY.

1. All unvaried Continuity tires.

2. Change, therefore, necessary.