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Dissocial passions, 31. All of them
painful, 56, and also disagreeable, 57.

Distance, the natural method of
computing the distance of objects, 85,
&c. Errors to which this computation
is liable, 429. 432.

Ditrochæus, 308.
Door, its proportion,425.
Double action in an epic poem, 404.
Double Dealer of Congreve censur-
ed, 218. 405.

Double plot in a dramatic composi-
tion, 400.

Drama, ancient and modern compar-
ed, 407.

Dramatic poetry, chap. xxii.
Drapery ought to hang loose, 88.
Dress, rules about dress, 156. 416.
Dryden censured, 356. 402. 405.
Duties, moral duties distinguished
into those which respect ourselves, and
those which respect others, 159. Foun-
dation of duties that respect ourselves,
ib. of those that respect others, ib. Du-
ty of acting up to the dignity of our na-
ture, 162, 163.

Dwelling house, its external form,
427. Internal form, 426. 431

EDUCATION promoted by the fine arts,
12. 425. Means to promote in young
persons a habit of virtue, 38.

Effects, resembling effects may be
produced by causes that have no re-
semblance, 267. Effect defined, 460.
Efficient cause of less importance
than the final cause, 164.

Electra of Sophocles censured, 191.
Elevation, 102, &c. Real and figu-
rative intimately connected, 106. Fi-
gurative elevation distinguished from
figurative grandeur, 317, 318.

Emotion, what feelings are termed
emotions, 24. Emotions defined, 25.
And their causes assigned, 25, 26. Dis

tinguished from passions, 27. Emotion
generated by relations,38,&c. Emotions
expanded upon related objects, 39, &c.,332.360. Emotions
distinguished into primary and seconda-
ry, 40. Raised by fiction, 47, &c. Raised
by painting, 51. Emotions divided into
pleasant and painful, agreeable and dis-
agreeable, 55, &c. 453. The interrupt-
ed existence of emotions, 59, &c. Their
growth and decay, 60. Their identity,
ib. Coexistent emotions, 63, &c. Emo-
tions similar and dissimilar, 64. Com-
plex emotions, ib. 65. Effects of similar
coexistent emotions, 64.430. Effects of
dissimilar coexistent emotions, 66. 417.
Influence of emotions upon our percep-
tions, opinions, and belief, 76, &c. 86,
87. 134, 135. 329. 341. 343. 346, &c.
Emotions resemble their causes,87, &c.
Emotions of grandeur, 101, &c. of sub-
limity, 102. A low emotion, 106. Emo-
tion of laughter, chap. vii.of ridicule,129.
Emotions when contrasted should notbe
too slow nor too quick in their succes-
sion, 139. Emotions raised by the fine
arts ought to be contrasted in succes-
sion, ib. Emotions of congruity, 156. of
propriety, ib. Emotions produced by
human actions, 161. Ranked according
to their dignity, 163. External signs of
emotions, chap. xv. Attractive and re-
pulsive emotions, 198. What emotions
do best in succession, what in conjunc-
tion, 417. What emotions are raised by
the productions of manufactures, 425,
note. Man is passive with regard to his
emotions, 448. We are conscious of
emotions, as in the heart, ib.

Emphasis defined, 293, note. Ought
never to be put upon words of import-
ance, 271, 272. 294.

English plays generally irregular,414.
English comedies generally licentious,

English tongue too rough, 237. In
English words the long syllable is put
early, 236, note. English tongue more
grave and sedate in its tone than the
French, 295, note. Peculiarly qualified
for personification, 332, note.

Entablature, 434.

Envy defined,28. How generated, 61.
Why it is perpetual, 62. It magnifies
every bad quality in its object, 77.

Epic poem, no improbable fact ought
to be admitted, 54. Machinery in it has
a bad effect, 54 It doth not always re-
ject ludicrous images, 141. Its com-
mencement ought to be modest and sim-
ple. 369. In what respect it differs from
a tragedy, 389. Distinguished into pa-
thetic and moral, 390. Its good effects,
391. Compared with tragedy as to the
subjects proper for each, ib. How far it


may borrow from history, 394. Rule for 47. Of ideal presence, 58, &c. Of the
dividing it into parts, 395.

Epic poetry, chap. xxii.
Epicurus censured, 450, note.
Episode in an historical poem, 399.
Requisites, ibid.

Epistles dedicatory censured, 154,note.
Epithets redundant, 384.
Epitritus, 309.

Essay on Man criticised, 307.
Esteem, love of, 93. 110.
Esther of Racine censured, 218. 220.
Eunuch of Terence censured, 229.
Euripides censured, 228. 412.
Evergreens cut in the shape of animals,


Effect of experience with respect to
taste in the fine arts, 445, note.

Expression, elevated, low, 107.
pression that has no distinct meaning 232.
Members of a sentence expressing a re-
semblance betwixt two objects ought to
resemble each other, 246, &c. Force of
expression by suspending the thought to
the close, 263.

External objects, their reality, 48.
External senses distinguished into two
kinds, 9. External sense, 447.

External signs of emotions and passions,
chap. xv. External signs of passion, what
emotions they raise in a spectator, 55, &c.
Eyesight influenced by passion, 86.
134, 135.

FACE, though uniformity prevail in the
human face, yet every face is distin-
guishable from another, 153.

Faculty by which we know passion
from its external signs, 198.
Fairy Queen criticised, 354.
False quantity painful to the ear, 283.
Fame, love of, 93..

Familiarity, its effect, 60. 122. 360. It
wears off by absence, 126

Fashion, its influence accounted for,
39. Fashion is in a continual flux, 100.
Fear explained, 44, &c. Rises often to
its utmost pitch in an instant, 61. Fear
arising from affection or aversion, ib.
Fear is infectious, 88.

Feeling, its different significations,448.
Fiction, emotions raised by fiction,
47, &c

Figure, beauty of, 97. Definition of
a regular figure, 454.

Figures, some passions favourable to
figurative expression, 23. 319.

Figures, chap. xx. Figure of speech,
335. 350 359, &c. Figures were of old
much strained, 310. 353

Final cause defined, 164. Final cause
of our sense of order and connexion, 23.
Of the sympathetic emotion of virtue, 37,
38. Of the instinctive passion of fear,
45. Of the instinctive passion of anger,


power that fiction has over the mind, 54.
Of emotions and passions, 89, &c. Of
objects, 93. Of regularity, uniformity, or-
the communication of passion to related
Of beauty, 100. Why certain objects are
der, and simplicity, 98. Of proportion, ib.
neither pleasant nor painful, 105, 106.
118. Of the pleasure we have in motion
and force, 121. Of curiosity, 122. Of
wonder, 127. Of surprise, ib. Of the
principle that prompts us to perfect every
work, 137. Of the pleasure or pain that


of a train of perceptions, 147, &c. Of
results from the different circumstances
dignity and meanness, 164, &c. Of habit,
congruity and propriety, 159, &c. Of
188, &c. Of the external signs of passion
culate sounds singly agreeable are always
and emotion, 195. 199, &c. Why arti-
agreeable in conjunction, 235. Of the
pleasure we have in language, 386. Of
our relish for various proportions in quan-
tity, 428. Why delicacy of taste is with-
held from the bulk of mankind, 440. Of
every species of beings, 441. Of uni-
our conviction of a common standard in
Why the sense of a right and a wrong in
formity of taste in the fine arts, 442, 443.
the fine arts is less clear than the sense
of a right and a wrong in actions, 444.
Final cause of greater importance than
the efficient cause, 164.

of reasoning, 12. Education promoted
Fine arts defined, 11. 15. A subject
by the fine arts, 13. 425. The fine arts a
438, &c. Their emotions ought to be
great support to morality, 12, &c. 424.
contrasted in succession, 139. Uniformity
dered with respect to dignity, 163. How
and variety in the fine arts, 148. Consi
None of them are imitative but painting
far they may be regulated by custom, 189.
true taste in these arts, 443. Who qua-
and sculpture, 233. Aberrations from a
lified to be judges in the fine arts, 445.
Fluid, motion of fluids, 119
ed into eet have upon
Foot, the effect that syllables collect-
verse-feet, 308.
sical feet defined, 276, note.
the ear, 249. Mu

A list of
Force produces a feeling that resem
force, 120. Force gives a pleasure dif-
bles it, 87. Force, chap. v. Moving
tributes to grandeur, ib.
fering from that of motion, ib. It con

Curiosities, 126.
Foreign, preference given to foreign

Fountaius, in what form they ought to
be, 199.

206. note. 218 414.
French dramatic writers criticised,

French verse requires rhyme, 306.
than the English, 295. note.
French language more lively to the ear
In French

words the last syllable generally long
and accented, ib.

Friendship considered with respect to
dignity and meanness, 163.

GALLERY, why it appears longer than
it is in reality, 419. Is not an agreeable
figure of a room, 430.

Games, public games of the Greeks, 120.
Gardening, a fine garden gives lustre to
the owner, 40, note. Grandeur of manner
in gardening, 113. Its emotions ought to
be contrasted in succession, 139. A small
garden should be confined to a single ex-
pression, 140. 415. A garden near a
great city should have an air of solitude,
140. A garden in a wild country should
be gay and splendid, ib. Gardening.
chap. xxiv. What emotions can be raised
by it, 415. Its emotions compared with
those of architecture, 416. Simplicity
ought to be the governing taste. ib.
Wherein the unity of a garden consists,
418. How far should regularity be stu-
died in it, ib. Resemblance carried too
far in it, ib. note. Grandeur in gardening,
ib. Every unnatural object ought to be
rejected, 420. Distant and faint imita-
tions displease, ib. Winter-garden, 422,
423. The effect of giving play to the
imagination, 424. Gardening inspires
benevolence, 425. And contributes to
rectitude of manners, 438.

General idea, there cannot be such a
thing, 451, note.

General terms should be avoided in
compositions for amusement, 113. 381.
General theorems, why agreeable, 99.
Generic habit defined, 185.

Generosity, why of greater dignity
than justice, 162.

Genus defined, 457.

Gestures that accompany the different
passions, 193-195.

Gierusalemme Liberata censured, 397.


Globe, a beautiful figure, 150.
Good-nature, why of less dignity than
courage or generosity, 162.

Gothic tower, its beauty, 426. Gothic
form of buildings, 431.

Government, natural foundation of
submission to government, 93.

Grace, chap. xi. Grace of motion,
121. Grace analyzed, 165, &c.

Grandeur and sublimity, chap iv. Dis-
tinguished from beauty, 103. Grandeur
demands not strict regularity, ib. Regula
rity, order, and proportion, contribute to
grandeur, ib. Real and figurative grandeur
intimately connected, 108. Grandeur of
manner, 111. Grandeur may be employ-
ed indirectly to humble the mind, 114.
Suits ill with wit and ridicule, 140. Fixes
the attention, 142. Figurative grandeur

distinguished from figurative elevation,
318. Grandeur in gardening, 418. Ir-
regularity and disproportion increase in
appearance the size of a building, 432.

Gratification of passion, 29. 33. 74. 79.
329, &c. 341, 343. Obstacles to gratifi-
cation inflame a passion, 62.

Gratitude considered with respect to
its gratification, 62. Exerted upon the
children of the benefactor, 77. Punish-
ment of ingratitude, 160. Gratitude con-
sidered with respect to dignity and mean-
ness, 163.

Greek words finely composed of long
and short syllables, 304.

Grief magnifies its cause, 78. Occa-
sions a false reckoning of time, 85. Is
infectious, 88. When immoderate is si-
lent, 222.

Gross pleasure, 58.

Group, natural objects readily form
themselves into groups, 150.
Guido censured, 357.

HABIT, chap. xiv. Prevails in old age,
142. Habit of application to business,
144. 146. 148. Converts pain into plea-
sure, 148. Distinguished from custom,
181. Puts the rich and poor upon a level,

Harmony or concord in objects of
sight, 64, 65. Harmony distinguished
from melody, 274, note.

Hatred, how produced, 61. Signifies
more commonly affection than passion,
ib. Its endurance, 63.

Hearing, in hearing we feel no im-
pression, 449.

Henriade censured, 373. 397. 399.
Hexameter, Virgil's hexameters ex-
tremely melodious, those of Horace sel-
dom so, 274. And the reason why they
are not, 281. Structure of an hexameter
line, 276. Rules for its structure, 277,
278. Musical pauses in an hexameter
line, 276. note. Wherein its melody

consists 281.

Hiatus defined, 236.

Hippolytus of Euripides censured,
219. 412.

History, why the history of heroes and
conquerors is singularly agreeable, 37.
109 By what means does history raise
our passions, 51. It rejects poetical
images, 370, 371.

History painting. See Painting.

Homer defective in order and con-
nexion, 21. His language finely suited
to his subject, 380. His repetitions de-
fended, 383. His poems in a great mea-
sure dramatic, 390. Censured, 398.
Hope, 61.

Horace defective in connexion, 21. His
hexameters not melodious, 274. Their
defects pointed out, 281.

Horror, objects of horror should be ba-
aished from poetry and painting, 387.
House, a fine house gives lustre to the
owner, 40, note.


Human nature a complicated machine,

Humanity the finest temper of mind, 58.
Humour defined, 168 Humour in
writing distinguished from humour in
character, ib.

Hyperbole, 116, 343.
Hyppobachius, 308.

Innate idea, there cannot be such a
thing, 451, note.

Instinct, we act sometimes by instinct,
29. 45, &c.

Instrument, the means or instrument
conceived to be the agent, 346.
Intellectual pleasure, 10.
Internal sense, 447.
Intrinsic beauty, 96.

Intuitive conviction of the variety of
our senses, 48. Of the dignity of human
nature, 162, 442. Of a common nature
or standard in every species of beings,

IAMBIC verse, its modulation faint, 274. 440. Of this standard being invariable,
Iambus, 308.

Jane Shore censured, 209. 215.
Idea not so easily remembered as a
perception is, 84, 85. Succession of ideas,
141. Pleasure and pain of ideas in a
train, 145, &c. Idea of memory defined,
449. Cannot be innate, 451, note. There
are no general ideas, ib. Idea of an ob-
ject of sight more distinc than of any
other object, 452. Ideas distinguished
into three kinds, 453. Ideas of imagina-
tion not so pleasant as ideas of memory,

Ideal presence, 49, &c.
theatrical representation, 51.
painting, ib.


Raised by
Raised by

Ideal system, 450, note.
Identity of a passion or of an emotion,

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Imitation, we naturally imitate virtuous
actions, 88. Not those that are vicious,
89. Inarticulate sounds imitated in
words, 266. None of the fine arts imi-
tate nature except painting and sculpture,
233. The agreeableness of imitation
overbalances the diagreeableness of the
subject, 386 Distant and faint imita-
tions displease 420.

Impression made on the organ of sense,
9.449. Successive impressions, 238, 239.
Impropriety in action raises contempt,
128 Its punishment, 158.

Impulse, a strong impulse succeeding
a weak makes a double impression; a
weak impulse succeeding a strong makes
scarce any impression, 238.

Infinite series becomes disagreeable
when prolonged, 137, note.

441. And of its being perfect or right,
ib. Intuitive conviction that the external
signs of passion are natural, and also that
they are the same in all men, 198, 199.

Intuitive knowledge of external eb-
jects, 48.

Inversion and inverted style described,
252, &c. Inversion gives force and live-
liness to the expression by suspending the
thought till the close, 261. Inverson how
regulated, 265, 266. Beauties of inver-
sion, 265, 266. Inversion favourable to
pauses, 289. Full scope for it in blank
verse, 301.

Involuntary signs of passion, 193–


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Italian tongue too smooth, 237, note.
Italian words finely diversified by long
and short syllables, 236, note.

Judgment and memory in perfection
seldom united, 19. Judgment seldom
united with wit, ib.

Julius Cæsar of Shakspeare censured,
220, 221.

Justice of less dignity than generosity
or courage, 162.

KENT, his skill in gardening, 417.
Key-note, 271. 275.

Kitchen-garden, 414.

Knowledge, intuitive knowledge of ex-
ternal objects, 48. Its pleasures never
decay, 188.

LABYRINTH in a garden, 420.

Landscape, why so agreeable, 65, 153.
More agreeable when comprehended un-
der one view, 419. A landscape in paint-
ing ought to be confined to a single ex-
pression, 140. Contrast ought to prevail
in it, 149.

Language, power of language to raise
emotions, whence derived, 50, 51. Lan-
guage of passion, chap. xvii. Ought to be
suited to the sentiments, 202. 223, 224,
225 Broken and interrupted, 223. Of
impetuous passion, 224. Of languid pas-
sion, ib. Of calm emotions, ib. Of tur-
bulent passions, ib. Examples of lan-
guage elevated above the tone of the sen-
timent, 230. Of language too artificial,
or too figurative, ib. too light or airy,
231. Language how far imitative, 233.
Its beauty with respect to signification,
233, 234. 238, &c. Its beauty with re-
spect to sounds, 24, &c. It ought to
correspond to the subject, 241. 377. Its
structure explained, 250, &c. Beauty
of language from a resemblance betwixt
sound and signification, 233. 266, &c.
The character of a language depends on
the character of the nation whose lan-
guage it is, 295, note. The force of lan-
guage consists in raising complete images,
53. Its power of producing pleasant
emotions, 386. Without language man
would scarcely be a rational being, 460.
Latin tongue finally diversified with
long and short syllables, 303.

L'Avare of Moliere censured, 220.
Laughter, 128.

Laugh of derision or scorn, 158.
Law defied, 160.

Laws of human nature necessary suc-
cession of perceptions, 17. 141. We never
act but through the impulse of desire, 28.
88. An object loses its relish by fami
liarity, 60. Passions sudden in their
growth are equally sudden in their decay,
62. 184. Every passion ceases upon ob-
taining its ultimate end, 63. An agree-
able cause produceth always a pleasant
emotion, and a disagreeable cause a
painful emotion, 89.

Laws of motion agreeable, 99.

Les Freres Ennemies of Racine cen-
sured, 212, note.

Lewis XIV. of France censured, 154.

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monly affection than passion, 61. Love
inflamed by the caprices of a mistress,62.
Its endurance, ib. To a lover absence
appears long, 82. Love assumes the
qualities of its object, 88. When exces-
sive becomes selfish, 101. Considered
with respect to dignity and meanness 163.
Seldom constant when founded on ex-
quisite beauty, 187. Il represented in
French plays, 218. When immoderate
is silent, 223.

Love for Love censured, 405.
Lowness is neither pleasant nor pain-
ful, 105.

Lucan too minute in his descriptions,
113. censured, 390.

Ludicrous, 128. May be introduced
into an epic poem, 141.

Lutrin censured for incongruity, 155.
characterized, 167.

Luxury corrupts our taste, 444.

MACHINERY ought to be excluded from
an epic poem, 54. 396. Does well in a
burlesque poem, 54.

Malice how generated, 61. Why it is
perpetual, 62.

Man a benevolent as well as a selfish
being, 90. Fitted for society, 93. Con-
formity of the nature of man to his exter-
nal circumstances, 105. 119. 121. 152.
200. Man intended to be more active
than contemplative, 164. The different
branches of his internal constitution fine-
ly suited to each other, 429. 443.

Manners gross and refined, 58. The
bad tendency of rough and blunt man-
ners, 200, note. Modern manners make
a poor figure in an epic poem, 394.

Manufactures, the effect of their pro-
ductions with respect to morality, 254,


Marvellous in epic poetry, 398.

Means, the means or instrument con-
ceived to be the agent, 346, &c.
Measure, natural measure of time, 82,
&c. Of space, 85, &c.

Meaux (Bishop of) censured, 139.
Medea of Euripides censured, 412.
Melody or modulation defined, 274.
Distinguished from harmony, ib. note.
In English heroic verse are four different
sorts of melody, 284. 295. Melody of
blank verse superior to that of rhyme,
and even to that of hexameter, 301.

Members of a period have a fine ef-
fect placed in an increasing series, 238,


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