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47. Extravagance in Invention.
48. Truth in Action and Gesture. Greek Artists.
49. Reasons for his Deviation from it. Abstract Form.
50. Character and Expression of Form.
51. Raphael's Vision of Ezekiel. Salvator Rosa's
52. Titian, Rubens, Rembrandt.
53. Difference of Character between Sculpture and
54. Similar to that between Epic and Dramatic
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.
PART III. OF THE PASSIONS, p. 315.
6. Degrees of Sympathy, Romans. Asiatics.
7. Sympathies with Exertion, not with Suffering,
10. Cruelties of the Americans to their Captives.
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.
17. Longinus's Opinion. Ecstacy.
18. Selfish Sufferings not tragic.
19. Energetic Passions sublime.
20. Rapture. Enthusiasm. Love.
29. Fortitude. The Laocoon.
23. Sculpture and Poetry; their comparative Influ-
25. Energies of Reason and Passion. Cato. Achilles.
26. Passion in Poetry may be too reasonable.
27. Madness. Folly. Perverted Energy. Weakness.
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.
36. Pliability. Stubbornness. Themistocles.
38. Sublime and Pathetic, how connected; both
39. Otway's Venice Preserv’d. Shakespeare's Julius
42. Extreme Suffering. Horror.
44. Distress remote from Self. Milton's Satan.
45. Remembrances of past Sufferings.
47. Infinity. Extent. Vastness.
48. Magnificence. Richness. Splendor.
49. Darkness. Vacuity. Silence.
50. Storms. Earthquakes. Volcanos, &c.
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-
59. Pain and Terror not Sources of the Sublime,
60. Mr. Burke's Philosophy on the Subject.
61. Not clearly understood by himself,
63. His progressive Scale of the Sublime.
64. Contrary in its Principles to the System of Lon-
70. Noxious and Innocent; Tame and Wild Ani-
73. Destroying and preserving Powers compared, as
74. -as to the Effect of that Energy in the Sublime.
75. Description and Reality compared.
76. Ilustrated by Virgil's Bees, and
79. Passage of Horace explained.
80. Mr. Burke's Opinion of Description examined.
81. Obscurity. Things distinct and Things deter-
82. Energies. Images. Virgil's forging of the
Thunderbolts. Homer's Girdle of Venus.
83. Consequences of Obscurity being thought su-
84. Impassioned Modes of Speech. Ideas. Ossian.
85. Sound Sense and Mental Energy in Character.
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.
92. Images limited; Mental Energies not.
93. Instances and Illustrations.
95. Comparative Influence of Music on the Passions.
96. Fabulous Stories concerning it.
97. Homeric Music,
CHAP. I. OF THE RIDICULOUS.
1. Laughter; its Nature and Causes.
2. Comedy as opposed to Tragedy, in Manners.
4. In Attitude and Countenance. Raphael. Rem-
5. Wit, as opposed to Judgment; as exciting Mirth.
6. Ludicrous, as opposed to sublime Imagery.
9. Incongruities in Dress, Deportment, and Dialect.
11. Good Nature and Good Humour, wherein dif-
12. Sympathy in Joy. Contrast.
13. Selfish Passions ludicrous.
14. Morality of Comedy, in the prudential Concerns
16. In the domestic relations of Parent and Child,
17. More immoral thạn Tragedy, but equally inef-