Sallust, censured for want of connec-
tion, 24.
Sapphic verse, has a very agreeable
modulation, 290.
Savage, knows little of social affec-
tion, 62.
Sculpture, imitates nature, 247. What
emotions can be raised by it, 442.
Secchia Rapita, characterized, 179.
Secondary qualities of matter, 107, &c.
Secondary relations, 165, note.
Seeing, in seeing we feel no impression,
476. Objects of sight are all of them
complex, 479.
Self-deceit, 83. 230.
Selfish, passions, 32, 33. Are pleasant,
61. Less refined and less pleasant
than the social, 62. The pain of self-
ish passions more severe than of so-
cial passions, ib. Inferior in dignity
to the social, 176. A selfish emotion
arising from a social principle, 32. A
selfish motive arising from a social
principle, 32., note.
Selfishness, promoted by luxury, 471.,
and also by love of riches, 472.
Self-love, its prevalence accounted for,
34. In excess disagreeable, 60. Not
inconsistent with benevolence, 97.
Semipause, in an hexameter line, 294.
What semipauses are found in an
English heroic line, 309.
Sensation, defined, 475., described, 479.
Sense, of order, 23, &c., contributes to
generate emotions, 43, note., and pas-
sions, 45. Sense of right and wrong,
28. The veracity of our senses, 51.
477, note. Sense of congruity or pro-
priety, 165., of the dignity of human
nature, 173. 469. Sense of ridicule,
179. Sense by which we discover a
passion from its external signs, 211.
Sense of a common nature in every
species of beings, 60. 467. Sense, in-
ternal and external, 474. In touch-
ing, tasting, and smelling, we feel the
impression at the organ of sense, not
in seeing and hearing, 476.
Senses, whether active or passive, 488.
Sentence, it detracts from neatness to
vary the scene in the same sentence,
263. A sentence so arranged as to
express the sense clearly, seems al-
ways more musical than where the
sense is left in any degree doubtful,
273.
Sentiment, elevated, low, 115. Senti-
ments, ch. xvi., ought to be suited
to the passion, 216. Sentiments ex-
pressing swelling of passion, 219.,
expressing the different stages of pas-
sion, 220., dictated by coexistent pas-
sions, 221. Sentiments of strong pas
sions are hid or dissembled, 222. Sen-
timents above the tone of the passion,
223., below the tone of the passion,
225. Sentiments too gay for a seri
ous passion, ib., too artificial for a
serious passion, ib., fanciful or finical,
226., discordant with character, 227.,
misplaced, 229. Immoral sentiments
expressed without disguise, 230-233.,
unnatural, 233. Sentiments both in
dramatic and epic compositions ought
to be subservient to the action, 420.
Sentiment defined, 480.
Sentimental music, 74, note.
Series, from small to great agreeable,
114. Ascending series, ib. Descend-
ing series, ib. The effect of a num-
ber of objects placed in an increasing
or decreasing series, 252.
Serpentine river, its beauty, 128. 450.
Sertorius, of Corneille censured, 220.
Shaft of a column, 462.
Shakspeare, his sentiments just repre-
sentations of nature, 218., is superior
to all other writers in delineating pas-
sions and sentiments, 239, 240., ex-
cels in the knowledge of human na-
ture, 240, note., deals little in inver-
sion, 317., excels in drawing charac-
ters, 397., his style in what respect
excellent, 404., his dialogue finely
conducted, 427., deals not in barren
scenes, 431.
Shame, arising from affection or aver-
sion, 65., is not mean, 175.
Sight, influenced by passion, 93. 146.
Similar emotions, 68., their effects when
coexistent, 69. 457.
Similar passions, 68, &c. Effects of co-
existent similar passions, 71.
Simple perception, 480.
Simplicity, taste for simplicity has pro-
duced many Utopian systems of hu-
man nature, 27. Beauty of simpli-
city, 104., abandoned in the fine arts,
107., a great beauty in tragedy, 425.,
ought to be the governing taste in gar-
dening and architecture, 443.
Singing, distinguished from pronoun-
cing or reading, 287. Singing and
pronouncing compared, 288.
Situation, different situations suited to
different buildings, 458.
Sky, the relish of it lost by familiarity,
Smelling, in smelling we feel an impres-
sion upon the organ of sense, 11. ̊476,
Smoke, the pleasure of ascending smoke
accounted for, 128.
Social passions, 32., more refined and
more pleasant than the selfish, 62.
The pain of social passions more mild
thand of selfish passions, ib. Social | Substratum, defined, 475.
passions are of greater dignity, 176.
Society, advantages of, 101.
Soliloquy, has a foundation in nature,
242. Soliloquies, 241, &c.
Sophocles, generally correct in the dra-
matic rules, 438.
Succession, of perceptions and ideas,
Sounds, power of sounds to raise emo-
tions, 35, 36., concordant, 68., dis-
cordant, ib., disagreeable sounds, 74.,
fit for accompanying certain passions,
74, 75. Sounds produce emotions
that resemble them, 94., articulate how
far agreeable to the ear, 248-250. A
smooth sound soothes the mind, and a
rough sound animates, 251. A con-
tinued sound tends to lay us asleep, an
interrupted sound rouses and ani-
mates, 265.
Space, natural computation of space,
92, &c. Space explained, 485, 486.
Species, defined, 485.
Specific habit, defined, 198.
19. 152, &c. In a quick succession of
the most beautiful objects we are
scarce sensible of any emotion, 53.
Succession of syllables in a word,
249., of objects, 252.
Superlatives, inferior writers deal in su-
perlatives, 367.
Surprise, the essence of wit, 21. 185.
Instantaneous, 64, 65. 186., decays
suddenly, 65. 186., pleasant or painful
according to circumstances, 133, &c.
Surprise the cause of contrast, 144,
has an influence upon our opinions,
and even upon our eye-sight, 147.
Surprise a silent passion, 236. studi-
ed in Chinese gardens, 451.
Suspense, an uneasy state, 90.
Sweet distress, explained, 68.
Swift, his language always suited to
his subject, 403., has a peculiar energy
of style. 404., compared with Pope, ib.
Speech, power of speech to raise emo- Syllable, 248, &c. Syllables considered
tions, whence derived, 53. 56.
Spondee, 293, 294. 323.
Square, its beauty, 106. 160.
Stairs, their proportion, 453.
Standard of taste, ch. xxv. Standard
of morals, 468–471.
Star, in gardening, 445.
Statue, the reason why a statue is not
coloured, 149. The limbs of a statue
ought to be contrasted, 159. An
equestrian statue is placed in a centre
of streets, that it may be seen from
many places at once, 405. Statues
for adorning a building, where to be
placed, 459, 460. Statue of an animal
pouring out water, 448., of a water-
god pouring water out of his urn,
465. Statues of animals employed
as supports condemned, ib. Naked
statues condemned, 457, note.
Steeple, ought to be pyramidal, 159.
Strada, censured, 392.
Style, natural and inverted, 270, &c.
The beauties of a natural style, 281.,
of an inverted style, ib. Concise
style a great ornament, 406.
Subject, may be conceived independent
of any particular quality, 269. Sub-
ject with respect to its qualities, 474.
486. Subject defined, 488.
Sublimity, ch. iv. Sublime in poetry,
115. General terms ought to be avoid-
ed where sublimity is intended, 122.
Sublimity may be employed indirectly
to sink the mind, 124. False sub-
lime, 125.
Submission, natural foundation of sub-
mission to government, 100, &c.
Substance'
+ 475.
as composing words, 249. Syllables
long and short, 250. 292. Many syl-
lables in English are arbitrary, 298.
Sympathy, sympathetic emotion of vir-
tue, 40, &c. The pain of sympathy
is voluntary, 62. It improves the ten-
per, ib.
Sympathy, 98., attractive, 93. 212., ne-
ver low nor mean, 174., the cement
of society, 212.
Synthetic, and analytic methods of rea-
soning compared, 22.
Tacitus, excels in drawing characters,
397., his style comprehensive, 407.
Tasso, censured, 422. 424.
Taste, in tasting we feel an impression
upon the organ of sense, 11. 476.
Taste in the fine arts though natural ́
requires culture, 13. 472, note. Taste
in the fine arts compared with the
moral sense, 13., its advantages, 14,
15. Delicacy of taste, 61. 472., a low
taste, 115. Taste in some measure
influenced by reflection, 462, note.
The foundation of a right and wrong
in taste, 466. Taste in the fine arts
as well as in morals corrupted by vo-
luptuousness, 471., corrupted by love
of riches, 472. Taste never naturally
bad or wrong, 473. Aberrations from
a true taste in the fine arts, 476.
Tautology, a blemish in writing, 407.
Telemachus, an epic poem, 414, note.
Censured, 425, note.
Temples, of ancient and modern virtue
in the gardens of Stow, 464.
Terence, censured, 242. 439.
Terror, arises sometimes to its utmost
height instantaneously, 64, &c., a si-
lent passion, 236. Objects that strike
terror have a fine effect in poetry and
painting, 410. The terror raised by
tragedy explained, 418.
Theorem, general theorems agreeable,
Time, past time expressed as present,
55, &c. Natural computation of time,
89, &c. Time explained, 485.
Titus Livius. See Livy.
Tone, of mind, 475.
Touch, in touching we feel an impres-
sion upon the organ of sense, 11. 476.
Trachiniens, of Sophocles censured,438.
Tragedy, the deepest tragedies are the
most crowded, 213, note. The later
English tragedies censured, 217.
French tragedy censured, 219, note.,
232. The Greek tragedy accompa-
nied with musical notes to ascertain
the pronunciation, 289. Tragedy,
ch. xxii., in what respect it differs
from an epic poem, 414, &c., distin-
guished into pathetic and moral, 415.,
its good effects, 416., compared with
the epic as to the subjects proper for
cach, 416, 417., how far it may bor-
row from history, 419., rule for di-
viding it into acts, 420, 421., double
plot in it, 425., admits not violent ac-
tion or supernatural events, 426., its
origin, 432. Ancient tragedy a con-
tinued representation without inter-
ruption, 433. Constitution of the
modern drama, 434.
Tragi-comedy, 426.
Trees, the best manner of placing them,
445, 446.
Triangle, equilateral, its beauty, 106.
Tibrachys, 323.
Trochæus, 323.
Tropes, ch. xx.
Ugliness, proper and figurative, 482.
Unbounded prospect disagreeable, 146,
Uniformity of the operations of nature,
161, &c. Uniformity apt to disgust
by excess, 106. Uniformity and va-
riety, ch. ix., conspicuous in the
works of nature, 163. The melody
of the verse ought to be uniform
where the things described are uni-
form, 308. Uniformity defined, 481.
Unity, the three unities, ch. xxiii., of
actions, 430, &c. Unity of action in
a picture, 431., of time and of place,
432, &c. Unities of time and of place
not required in an epic poem, ib.
Strictly observed in the Greek tra-
gedy, ib. Unity of place in the an-
cient drama, ib. Unities of place and
time ought to be strictly observed in
each act of a modern play, 434, &c.
Wherein the unity of a garden con-
sists, 444.
Unumquodque eodem modo dissolvitur
quo colligatum est, 147.
Vanity, a disagreeable passion, 61.,
ways appears mean, 175.
Variety, distinguished from novelty, 134.
Variety, ch. ix. Variety in pictures,
159., conspicuous in the works of na-
ture, 163., in gardening, 450.
Veracity of our senses, 51.
Verb, active and passive, 266, 267.
Verbal antithesis, defined, 190. 259.
Versailles, gardens of, 447.
Verse, distinguished from prose, 289
Sapphic verse extremely melodious,
290. Iambic less so, ib. Structure of
an hexameter line, 292, &c. Struc-
ture of English heroic verse, 298,
note., 308. &c. 318. English mono-
syllables arbitrary as to quantity, 298.
English heroic lines distinguished into
four sorts, 300. 311., they have a due
mixture of uniformity and variety,
315. English rhyme compared with
blank verse, 316. Rules for compo-
sing each, 316, &c. Latin hexameter
compared with English rhyme, 318.,
compared with blank verse, ib.
French heroic verse compared with
hexameter and rhyme, ib. The En-
glish language incapable of the melo-
dy of hexameter verse, 319. For
what subject is rhyme proper, 320,
&c. Melody of rhyme, ib. Rhyme
necessary to French verse, 322. Me-
lody of verse is so enchanting as to
draw a veil over gross imperfections,
323. Verses composed in the shape
of an axe or an egg, 447.
Violent action, ought to be excluded
from the stage, 426.
Virgil, censured for want of connection,
24., his verse extremely melodious,
296., his versification criticised, 308.,
censured, 323. 399. 402. 408. 411,
412. 423.
Virgil travestie, characterised, 179.
Virtue, the pleasures of virtue never de-
cay, 40.
Vision, the largest and smallest angle of
vision, 92. 93.
Voltaire, censured, 395. 419. 422. 424.
Voluntary signs of passion, 205, 206.
Voluptuousness tends to vitiate our
taste, 471, 472.
Vowels, 248, 249.
Walk, in a garden, whether it ought
to be straight or waving, 448. Arti-
ficial walk elevated above the plain,
448.
Wall, that is not perpendicular occa-
sions an uneasy feeling, 94.
Waterfall, 94. 129.
Water-god, statue of, pouring out wa-
ter, 465.
Way of the world, censured, 431., the
unities of place and time strictly ob-
served in it, 440.
Will, how far our train of perceptions
can be regulated by it, 20. 154-156.,
determined by desire, 96.
Windows, their proportion, 452., double
row, 459.
Winter garden, 449.
Wish, distinguished from desire, 30.
Wit, defined, 21. 183., seldom united
with judgment, 21., but generally
with memory, ib., not concordant with
grandeur, 150. Wit, ch. xiii. Wit
in sounds, 192. Wit in architecture,
464.
Wonder, instantaneous, 64, decays sud-
denly, ib. Wonders and prodigies
find ready credit with the vulgar, 88.
Wonder defined, 131., studied in Chi-
nese gardens, 451.
Words, rules for coining words, 33,
note. Play of words, 189. 245, &c.
Jingle of words, 246. Words consi-
dered with respect to their sound, 250.
Words of different languages com-
pared, 250, &c. What are their best
arrangement in a period, 252. A con-
junction or disjunction in the mem-
bers of the thought ought to be imi-
tated in the expression, 259, 261, &c.
Words expressing things connected
ought to be placed as near together as
possible, 273, &c. In what part of a
sentence doth a word make the great-
est figure, 277. Words acquire a
beauty from their meaning, 262. 380.
Some words make an impression re-
sembling that of their meaning, 282.
The words ought to accord with the
sentiment, 215. 237, 238. 247. 283.
403. A word is often redoubled to
add force to the expression, 238. 405.
See Language.
Writing, a subject intended for amuse-
ment may be highly ornamented, 167.
A grand subject appears best in a
plain dress, ib.
Youth, requires more variety of amuse-
ment than old age, 152.
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