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.
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. Ex- 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.
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.
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.
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, 455.
Ideal presence, 49, &c. theatrical representation, 51. painting, ib.
Ideal system, 450, note. Identity of a passion or of an emotion,
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–
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.
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,
« PreviousContinue » |