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.

-power that fiction has over the mind, 54.
Of emotions and passions, 89, &c. Of
the communication of passion to related
objects, 93. Of regularity, uniformity, or-
der, and simplicity, 98 Of proportion, ib.
Of beauty, 100. Why certain objects are
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
results from the different circumstances

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,

420.

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

Expression, elevated, low, 107. Ex-
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.

Of

of a train of perceptions, 147, &c. Of
congruity and propriety, 159, &c.
dignity and meanness, 164, &c. Of habit,
188, &c. Of the external signs of passion
and emotion, 195. 199, &c. Why arti-
culate sounds singly agreeable are always
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
our conviction of a common standard in
every species of beings, 441. Of uni-
formity of taste in the fine arts, 442, 443
Why the sense of a right and a wrong in
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.

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

1

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, 223. 319.

Fine arts defined, 11. 15. A subject
of reasoning, 12. Education promoted
by the fine arts, 13. 425. The fine arts a
great support to morality, 12, &c. 424.
438, &c. Their emotions ought to be
contrasted in succession, 139. Uniformity
and variety in the fine arts, 148. Consi
dered with respect to dignity, 163. How
far they may be regulated by custom,189.
None of them are imitative but painting
and sculpture, 233. Aberrations from a
true taste in these arts, 443. Who qua-
lified to be judges the fine arts, 445.

Fluid, motion of fluids, 119

Foot, the effect that syllables collect-
ed into Leet have upon the ear, 249. Mu-
sical feet defined, 276, note. A list of
verse-feet, 308.

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

Foreign, preference given to foreign
curiosities, 126.

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

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

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

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,

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,
24.

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

Hyperbole, 116, 343.
Hyppobachius, 308.

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.
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-

195.

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,
455.
Raised by
Raised by

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

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

59.

Jet d'eau, 120. 420, 421.

Jingle of words, 300. 304.

Illiad criticised, 404.

Images the life of poetry and rhetoric,
50. 113.

Imagination the great instrument of
recreation, 128. To give play to it has
a good effect in gardening, 424. Its
power in fabricating images, 452. 455.
Agreeableness of ideas of imagination,

455.

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.

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

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

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.

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,
note.

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,

239.

Memory and judgment in perfection
seldom united, 19. Memory and wit
often united, ib. Greater with respect
to perceptions than ideas, 84. Memory.

449.