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Sky, the relish of it lost by familiarity,
Smelling, in smelling we feel an im-
pression upon the organ of sense, 449.
Smoke, the pleasure of ascending
smoke accounted for, 21. 120.
Social passions, 30. more refined and
more pleasant than the selfish, 58. The
pain of social passions more mild than of
selfish passions, ib. Social passions are
of greater dignity, 165.
Society, advantages of, 93, 94.
Soliloquy has a foundation in nature,
194. Soliloquies, 227, &c.
Sophocles generally correct in the
dramatic rules, 413.
Sounds, power of sounds to raise emo-
tions, 32. concordant, 63. discordant, ib.
disagreeable sounds, 69. fit for accom-
panying certain passions, ib. Sounds
produce emotions that resemble them,
87. articulate how far agreeable to the
ear, 235. A smooth sound soothes the
mind, and a rough sound animates, 237.
A continual sound tends to lay us asleep,
an interrupted sound rouses and ani-
Space, natural computation of space,
85, &c. Space explained, 458.
Species defined, 457.
Specific habit defined, 185.
to sink the mind, 115. False sublime,
Submission, natural foundation of
submission to government, 93, &c.
Substance defined, 448.
Substratum defined, 447.
Succession of perceptions and ideas,
17, &c. 141, &c. In a quick succession
of the most beautiful objects we are
scarce sensible of any emotion, 50.
Succession of syllables in a word, 233.
of objects, 238.
Superlatives, inferior writers deal in
Surprise the essence of wit, 19. 173.
Instantaneous, 60, 61. decays suddenly,
122, 123. pleasant or painful according
to circumstances, 124, &c. Surprise the
cause of contrast, 134. has an influence
upon our opinions, and even upon our
eye-sight, 135. Surprise a silent pas-
sion, 223. studied in Chinese gardens,
Suspense an uneasy state, 83.
Sweet distress explained, 64.
Swift, his language always suited to
his subject, 380. has a peculiar energy
of style, 381. compared with Pope, ib.
Syllable, 235. Syllables considered
as composing words, ib. Syllables long
and short, 236.275. Many syllables in
Speech, power of speech to raise emo- English are arbitrary, 282.
tions, whence derived, 50. 53.
Spondee, 276, &c. 308.
Square, its beauty, 98. 150.
Stairs, their proportion, 426.
Standard of taste, ch. xxv. Standard
of morals, 441. 443.
Sympathy, sympathetic emotion of
virtue, 36, &c. The pain of sympathy
is voluntary, 58. It improves the tem-
Star in gardening, 419.
Statue, the reason why a statue is not
coloured, 139. The limbs of a statue
ought to be contrasted, 149. An eques-
trian statue is placed in a centre of streets
that it may be seen from many places
at once, 382. Statues for adorning a
building where to be placed, 433. Sta-
tue of an animal pouring out water, 420.
of a water-god pouring out water out
of his urn, 438. Statues of animals
employed as supports condemned, ib.
Naked statues condemned, 431, note.
Steeple ought to be pyramidal, 149.
Strada censured, 147.
Style natural and inverted, 252, &c.
The beauties of a natural style, 266. of
an inverted style, ib. Concise style a
great ornament, 384.
Subject may be conceived indepen-
dent of any particular quality, 253. Sub-
ject with respect to its qualities, 447.
459. Subject defined, 460.
Sublimity, ch iv. Sublime in poetry,
197. General terms ought to be avoid-
ed where sublimity is intended, 113.
Sublimity may be employed indirectly
Sympathy, 91, attractive, 91. 201.
never low nor mean, 163, the cement
of society, 201.
Synthetic and analytic methods of
reasoning compared, 20.
TACITUS excels in drawing charac-
ters, 375. his style comprehensive, 384.
Tasso censured, 397. 399.
Taste, in tasting we feel an impression
upon the organ of sense. 9. 449. Taste
in the fine arts though natural requires
culture, 11. 445, note. Taste in the fine
arts compared with the moral sense, 11.
its advantages, 12, &c. Delicacy of
taste, 58, a low taste, 107. Taste' in
some measure influenced by reflection,
435, note. The foundation of a right
and wrong in taste, 441. Taste in the
fine arts as well as in morals corrupted
by voluptuousness, 444. corrupted by
love of riches, ib. Taste never particu-
larly bad or wrong, 445. Aberrations
from a true taste in the fine arts, 443.
Tautology a blemish in writing, 384.
Telemachus an epic poem, 389, note.
Censured, 400, note.
Temples of ancient and modern vir-
tue in the gardens of Stow, 437.
Terence censured, 229, &c. 412, 413.
Terror arises sometimes to its utmost
height instantaneously, 60, &c. a silent
passion, 213. Objects that strike terror
have a fine effect in poetry and painting,
387. The terror raised by tragedy ex-
Theorem, general theorems agree
Time, passed time expressed as pre-
sent, 52, &c. Natural computation of
time, 82, &c. Time explained, 458.
Titus Livius. See Livy.
Tone of mind, 448.
Touch, in touching we feel an impres-
sion upon the organ of sense, 449.
Trachiniens of Sophocles censured,
Tragedy, the deepest tragedies are the
most crowded, 201, note. The later En-
glish tragedies censured, 205. French
tragedy censured, 206, note, 218. The
Greek tragedy accompanied with musi-
cal notes to ascertain the pronunciation,
272. Tragedy, ch. xxii. in what respect
it differs from an epic poem, 389. distin-
guished into pathetic and moral, 390. its
good effects,391.compared with the epic
as to the subjects proper for each, ib.how
far it may borrow from history, 394.
rule for dividing it into acts, 395. double
plot in it, 400. admits not violent action
or supernatural events, 401. its origin,
407. Ancient tragedy a continued re-
presentation without interruption, ib.
Constitution of the modern drama, ib.
Tragi comedy, 401.
Trees, the best manner of placing
them, 419, 420
Triangle equilateral, its beauty, 98.
Tropes, ch. xx.
UGLINESS proper and figurative, 454.
Unbounded prospect disagreeable, 137,
Uniformity of the operations of nature,
150, &c. Uniformity apt to disgust by
excess, 99. Uniformity and variety, ch.
ix. conspicuous in the works of nature,
152. The melody of the verse ought to
be uniform where the things described
are uniform,291 Uniformity defined,454.
Unity, the three unities, ch. xxiii. of
actions, 404, &c. Unity of action in a
picture, 406. of time and of place, ib. &c.
Unities of time and of place not requir-
ed in an epic poem, ib. Strictly observ.
ed in the Greek tragedy, 407. Unity of
place in the ancient drama, 411. Uni-
ties of place and time ought to be strict-
ly observed in each act of a modern
play, 413. Wherein the unity of a gar-
den consists, 418.
quo colligatum est, 138.
Unumquodque eodem modo dissolvitur
always appears mean, 163
VANITY a disagreeable passion, 57.
Variety, distinguished from novelty,
tures, 149. conspicuous in the works of
125. Variety, ch. ix. Variety in pic-
nature, 152. in gardening. 423.
Veracity of our senses, 48.
Verb active and passive, 250, 251.
Verbal antithesis defined, 178. 244.
Versailles, gardens of, 420.
Sapphic verse extremely melodious,
Verse distinguished from prose, 273.
hexameter line, 276. Structure of En-
274. Iambic less so, ib. Structure of an
English monosyllables arbitrary as to
glish heroic verse, 277, note, &c. 282.
quantity, 300. English heroic lines dis-
tinguished into four sorts, 283, 284. 296.
they have a due mixture of uniformity
and variety, 299. English rhyme com-
pared with blank verse, 300, 301. Rules
for composing each, 301, 302. Latin
hexameter compared with English
rhyme, 304. compared with blank verse,
ib. French heroic verse compared,
hexameter and rhyme, 303. The En-
glish language incapable of the melody
of hexameter verse, ib. For what sub-
jects is rhyme proper? 304, 305, &c.
Melody of rhyme, ib. Rhyme necessa-
ry to French verse, 306. Melody of
verse is so enchanting as to draw a veil
over gross imperfections, 307. Verses
composed in the shape of an axe or an
Violent action ought to be excluded
from the stage, 401.
Virgil censured for want of connex-
ion, 22. his verse extremely melodious,
274. his versification criticised, 280.
censured, 307. 377. 380. 382. 395.
Virgil travestie characterized, 167.
Virtue, the pleasures of virtue never
Vision, the largest and smallest angle
Voltaire censured, 373. 395. 397.
Voluntary signs of passion, 192.
Voluptuousness tends to vitiate our
Vowels, 234, &c.
to be straight or waving, 421. Arti-
WALK, in a garden, whether it ought
ficial walk elevated above the plain,
sions an uneasy feeling, 87.
Wall that is not perpendicular, occa-
Waterfall, 87. 119.
Water-god (statue of) pouring out
Way of the World censured, 405, the
unities of place and time strictly ob-
served in it, 414.
Will, how far our train of perceptions
can be regulated by it, 18. 142. 144. de-
termined by desire, 89.
Windows, their proportion, 426. dou-
ble row, 432.
Wish distinguished from desire, 29.
Wit defined, 19. seldom united with
judgment, 173, but generally with me-
mory, ib. not concordant with gran-
deur, 33. Wit, chap. xiii. Wit in sounds,
180. Wit in architecture, 437.
Wonder instantaneous, 60. decays
suddenly, 62. Wonders and prodigies
find ready credit with the vulgar, 81.
Wonder defined, 122. studied in Chi-
nese gardens, 494.
Words, rules for coining words, 31.
note. Play of words, 231, 232. Jingle
of words, 232. Words considered with
respect to their own sound, 235. Words
of different languages compared, 236.
What are their best arrangement in a
period, 238. A conjunction or disjunc-
tion in the members of the thought
ought to be imitated in the expression,
242. 245, 246. Words expressing
things connected ought to be placed as
near together as possible, 258, &c. In
what part of a sentence doth a word
make the greatest figure, 261. Words
acquire a beauty from their meaning,
267. 360. Some words make an im-
pression resembling that of their mean
ing, 268. The words ought to accord
with the sentiment, 203. 223, 224.
242. 378. A word is often redoubled
to add force to the expression, 225.
382. See Language.
Writing, a subject intended for
amusement may be highly ornamented,
155. A grand subject appears best in a
plain dress, 156.
YOUTH requires more variety of
amusement than old age, 142.