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.
259.267.278.293.331,332.360. 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,
33.

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

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.

399.

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,
189.

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.

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.

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,

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.