Attributes) transferred by a figure of speech from one subject to an
other ii. 212, &c.
Avarice) defined i. 41.
Avenue) to a house ii. 350.
Averfion) defined i. 98, 99. 320. ii. 409,
Bajazet) of Racine cenfured i. 398.
Barren fcene) defined ii. 321.
Bafe) of a column ii. 374.
Baffo-relievo ii. 371.
Batrachomuomachia) cenfured i. 291.
Beauty, ch. 3. Intrinfic and relative i. 159. ii. 351. Beauty of
fimplicity . 161. Of figure i. 162. Of the circle i. 163. Of the
fquare i. 163. Of a regular polygon i. 163. Of a parallelogram
i. 164. Of an equilateral triangle i. 164. Whether beauty be a
primary or fecondary quality of objects i. 166. Beauty diftin-
guished from grandeur i. 171, Beauty of natural colours i. 260.
Beauty diftinguished from congruity i. 268. Confumimate beauty
feldom produces a conftant lover i. 227. Wherein confifts the
beauty of the human vifage i. 336. Beauty proper and figurative
ii. 405, 406.
Behaviour) grofs and refined i. 94.
Belief) of the reality of external objects i. 75. Enforced by a lively
narrative, or a good hiftorical painting i. 84, 85. Influenced by
paffion i. 132. ii. 181. 205. Influenced by propensity i. 132. In-
Auenced by affection i. 133.
Benevolence operates in conjunction with felf-love to make us hap-
py i. 150. Benevolence infpired by gardening ii. 355.
Berkeley) cenfured ii, 399, note.
Blank verfe ii. 95. 127. Its aptitude for inverfion ii. 130. Its
melody ii. 130. How far proper in tragedy ii. 317.
Body) defined ii. 395.
Boileau) cenfured ii. 201. 306.
Bombaft i. 195. Bombaft in action i. 198.
Boffu) cenfured ii. 324, note.
Burlefque) machinery does well in a burlesque poem i. 86. Bur-
lefque diftinguifhed into two kinds i. 290.
Bufinefs) men of middle age best qualified for it i. 245.
Cadence ii. 76. 83.
Capital) of a column ii. 374.
Careless Hufband) its double plot well contrived ii. 314.
Cascade i. 202.
Caufe) resembling caufes may produce effects that have no refem-
blance; and caufes that have no refemblance may produce refein-
bling effects ii. 70. Caufe defined ii. 416.
Chance) the mind revolts against misfortunes that happen by chance
Character) to draw a character is the master-ftroke of description ii.
266, 267.
Characteristics) of Shaftsbury criticifed i. 269. note.
Children) love to them accounted for i. 62. A child can difcover
a pallion from its external figns i. 348. Hides none of its emotiona
Chinele gardens ii. 353. Wonder and furprise ftudied in them ii. 354.
Choreus ii. 142.
Chorus) an effential part of the Grecian tragedy ii. 324.
Church) what ought to be its form and fituation ii. 367.
Cicero cenfured ii. 65. 77. 80.
Cid) of Corneille cenfured i. 366. 386.
Cinna) of Corneille cenfured i. 270. 363. 384.
Circle) its beauty i. 161.
Circunftances) in a period, where they should be placed ii. 49. 55.
Clafs) all living creatures diftributed into claffes ii. 384, 385.
、Climax) in fenfe i. 182. 364. ii. 60. In found ii. 14. When thefe
are joined, the featence is delightful ii. 74.
Cophores, of Efchylus cenfured i. 335.
Coexilent emotions and pations i. 102, &c.
Colonnade) where proper ii. 360.
Colour) gold and filver efteemed for their beautiful colours i. 160,
A fecondary quality i. 89. Natural colours i. 260. Colouring of
the human face, exquifite i. 260.
Colums) every columu ought to have a bafe i. 145. The base
ought to be iquare i. 145. Columus admit different proportions
ii. 365. 367. What emotions they raite ii. 367. Column more
beautiful than a pilafter ii. 373. Its form ii, 374. Five orders
of columns ii. 375. Capital of the Corinthian order cenfured ii.
376.
Comedy) double plot in a comedy ii. 312. 314. Modern manners do
beft in comedy ii. 301. Immorality of English comedy i. 52.
Comet) motion of the coniets and planets compared with refpect to
Leauty 1. 201.
Commencement) of a work ought to be modeft and fimple ii. 258.
Conamon nature) in every species of animals i. 9o. ii. 383. We have
a conviction that this common nature is invariable ii. 384. Alfo
that it is perfect or right i. 9o. ii. 384.
Common fenfe ii. 85. 393.
Communication of pathon to related objects. See Paffion. Com
munication of qualities to related objects. See Propenfity.
Comparison i, 22, &c. ch. 19. In the early compofition of all na
Lions, comparifons are carried beyond proper bounds ii. 145.
Comparious that refolve into a play of words ii. 173,
Complex emotion ì. 103, &c.
Complex object) its power to generate paffion i. 65, 66. 192.
Complex perception ii. 401.
Complexion) what colour of drefs is the most fuitable to different
complexions i. 237.
Conception) defined ii. 397.
Concord) or harmony in objects of fight i. 106.
Concordant founds) defined i. 103.
Congreve) cenfured i. 52. 292. 340 note. ii. 316. 322.
Congruity and propriety, ch. 10. A fecondary relation i. 267. note.
Congruity diftinguithed from beauty i. 268. Diftinguished from
propriety i. 268. As to quantity, congruity coincides with pro
portion i. 275.
Connection) effential in all compofitions i. 32.
Conquest of Granada) of Dryden cenfured i. 388.
Conftancy) confummate beauty the cause of inconftancy i. 327.
Conftruction) of language explained ii. 36. &c.
Contemplation) when painful i. 251.
Contempt) raised by improper action i. 220,
Contraft, ch. 8. Its effect in language ii. 1o. In a series of objects
ii. 12. Contrast in the thought requires contraft in the members
of the expreflion ii. 30, 31. The effect of contraft in gardening
Conviction) intuitive. See Intuitive conviction.
Copulative) to drop the copulative enlivens the expreffion ii. 33, &C.
Coriolanus) of Shakefpear cenfured i. 388.
Corneille) cenfured i. 362. 378. 397. 401.
Corporeal pleafure i. 9, 10. Low and fometimes mean i. 282,
Couplet ii. 96. Rules for its compofition ii. 128, 129.
Courage) of greater dignity than justice i. 281.
Criminal) the hour of execution feems to him to approach, with a
fwift pace i. 137.
Criticifm) its advantages i. 15, &c. Its terms not accurately defined
Crowd) defined ii. 414.
Curiofity i. 207. 222, &c.
Custom and Habit, ch. 14. Renders objects familiar i. 208. - Cuf-
tom diftinguished from habit i. 316, 317. Custom puts the rich
and poor upon a level i. 331. Talte in the fine arts improved by
custom ii. 392. note.
Dactyle ii. 142.
Davila) cenfured i. 257.
Declenfions) explained ii. 37, 38.
Dedications. See Epiftles Dedicatory.
Delicacy) of tafle i. 93. ii. 392.
Derifion i. 273. 290.
Des Cartes) cenfured ii. 309. note.
Defcent) not painful i. 177.
Defcription) it animates a defcription to reprefent things past as
prefent i. 83. The rules that ought to govern it ii. 257. A lively de-
feription is agreeable, though the fobject described be difagreeable
ii. 285. No objects but those of fight can be well defcribed ii. 402,
Defcriptive perfonifications ii. 187.
Defcriptive tragedy i. 359,
Defire) defined i. 42. It impels us to ation i. 44. It determines
the will i. 181. Defire in a criminal to be punished i. 148. De-
fire tends the most to happiness when moderate. i. 168.
Dialogue) dialogue-writing requires great genius i. 358, &c. In dia-
logue every expreffion ought to be fuited to the character of the
speaker ii. 277. Dialogue makes a deeper impreflion than narration
ii. 193. Qualified for expretting lentiments ii. 296. Rules for it
ii. 315, &c.
Dignity and grace, ch. 11. Dignity of human nature ij. 387.
Diambus ii. 143.
Difagreeable emotions and paffions i. 88, &c.
Difcordant founds) defined i. 103.
Difpondeus ii. 143.
Difpofition) defined ii. 408.
Diffimilar emotions i. 104.
ros. ii. 343. 365.
Their effects when coexistent i. 107,
Dilimiier pallions) their effects i. 116.
Diffocial pattions i. 47. All of them painful i. 90. and alfo difagrees
able i. 91.
Distance) the natural method of computing the distance of objects i
141, &c. Errors to which this computation is liable ii. 363. 369.
Ditrochæus ii. 143.
Door) its proportion ii. 357.
Double action) in an epic poem il. 320.
Double dealer) of Congreve cenfured i. 383. ii. 322.
Double plot) in a dramatic composition ii. 313.
Drama) ancient and modern compared il. 324, 325.
Dramatic poetry, ch. 22.
Drapery) ought to hang loofe i. 145.
Dreis) rules about dress i. 269. ii. 340.
Dryden) cenfured ii. 231. 315. 322.
Duties) moral duties diftinguished into thofe which refpect our
felves and thofe which refpect others i. 276. Foundation of du-
ties that refpect ourselves i. 276 of those that respect others i.
276. Duty of acting up to the dignity of our nature i. 280, 281.
Dwelling-houfe) its external form ii. 359. Internal form ii. 358.
368.
Education) promoted by the fine arts i. 16. ii. 355. Means to pro-
mote in young perfons a habit of virtue i. 58.
Effects) refembling effects may be produced by caufes that have no
refemblance ii. 70. Effect defined ii. 416.
Efficient caufe) of lefs importance than the final cause i. 284.
Electra) of Sophocles cenfured i. 335.
Elevation i. 169, &c. Real and figurative intimately connected i,
179. Figurative elevation diftinguifhed from figurative grandeur
ii. 161, 162.
Emotion) what feelings are termed emotions i. 36. Emotions de-
fined i. 38, &c. And their caufes affigned i, 38, 39. Distinguish-
ed from pathons i. 41. Emotion generated by relations i. 59, &c.
Emctions expanded upon related objects i. 59, &c. ii. 53. 69.
39. 115, 184. 185, 238. Emotions diftinguished into primary and
secondary i. 62. Raised by fiction i. 75, &c, Raised by painting
i. 82. Emotions divided into pleasant and painful, agreeable and
difagreeable i. 88, &c. ii. 404. The interrupted existence of
emotions i. 95, &c. Their growth and decay i. 97, &c. Their
dentity i. 97
Coexiftent emotions i. 102, &c, Emotions fimi-
lar and diffimilar i, 104. Complex emotions i. 104, 105. Effects
effimilar coexiftent emotions i. 105. ii. 365. Effects of diffimilar co-
exiftent emotions i. 107. ii. 343. Influence of emotions upon our
perceptions, opinions and belief i. 124, &c. 143. 230. 232. ii. 180.
202. 204. 211, &c. Emotions refemble their caufes i. 144, &c. Emo-
tions of grandeur 1. 170, &c. of fublimity i. 170. A low emotion i.
179. Emotion of laughter, ch. 7. of ridicule i, 220, Emotions when
contrafted fhould not be too flow nor too quick in their fuccef,
fion i. 240. Emotions raifed by the fine arts ought to be contrast-
ed in fucceffioni. 240. Emotion of congruity i. 270. of propri-
ety : 271. Emotions produced by human actions i. 279. Ranked
accoding to their dignity i. 282. External figns of emotions,
cb. 15. Attractive and repulfive emotions i. 346. What emo-
tions do beft in fucceffion, what in conjunction ii. 343. What
-emotions are raifed by the productions of manufactures ii. 355.
nate. Man is paffive with regard to his emotions ii. 395. We
are confcious of emotions as in the heart ii. 395.
Fphafis) defined ii, 115. note. Ought never to be but upon words
of importance ii. 76, 77, 117,
Eneld) its unity of action ii. 320.
English plays) generally irregular ii. 336. English comedies gener-
ally licentious i. 52.
English tongue) too rough ii. 11. In English words the long fylla-
ble is put early ii, 8. note. English tongue more grave and fedate
in its tone than the French ii. 120. note. Peculiarly qualified
for perfonification ii. 186. note.
Envy) defined i. 142. How generated i. 98. Why it is perpetual
i. 102. It magnifies every bad quality in its object i. 127.
Epic poem) no improbable fact ought to be admitted i. 86. Ma-
chinery in it has a bad effect i. 86, 87. It doth not always reject
Judicrous images i. 242. Its commencement ought to be modest
and fimple ii. 258. In what refpect it differs from a tragedy ii.
292. Diftinguifhed into pathetic and moral ii. 294. Its good ef-
fects ii. 295. Compared with tragedy as to the fubjects proper
for each ii. 296. How far it may borrow from history ii. 301.
Rule for dividing it into parts ii. 383.
Epic poetry ch. 22.
Epicurus) cenfured ii. 398. note.
Epifode) in an hiftorical poem ii. 310. Requifites ii. 311.
Epiftles dedicatory) cenfured i. 266. note.
Epithets) redundant ii. 283.
Epitritus ii. 144,
Effays on man) criticifed ii. 140.
Esteem) love ofi. 155. 185.
Either) of Racine cenfured i. 383. 386.
Eunuch) of Terence cenfured i. 401.
Euripides) cenfured i. 401. ii. 353.
Evergreens) cut in the shape of animals ii. 348.
Effect of experience with respect to tafte, in the fine arts ii. 392.
Expreffion) elevated, low i. 179. Expreflion that has no distinct
meaning i. 407. Members of a fentence expreffing a refemblance
Betwixt two objects, ought to resemble each other ii. 27, &C.
Force of expreflion by fufpending the thought till the clofe ii. 61.
External objects) their reality i. 75.
External fenfes) diftinguished into two kinds i. 9. External fense
External figns) of emotions and paffions, ch. 15. External figns of
paffion, what emotions they raife in a spectator i. 89. &c.
Eye-fight) influenced by palion i. 142, 143. 230. 232.
Face) though uniformity prevail in the human face, yet every face is
diftinguishable from another i. 263.
Faculty) by which we know paflion from its external figns i. 347-
Fairy Queen) criticised ii. 228.
Falle quantity) painful to the ear ii. 98.
Familiarity) its effect i. 98. 207. ii. 238. it wears off by abfence i. 213.
Fashion) its influence accounted for i. 61. Fashion is in a continual
flux i. 166.
Fear) explained i. 70, &c. Rifes often to its utmost pitch in an instant
i. 98. Fear ariling from affection or averfion i. 99. Fear is in-
fectious i. 46.
Feeling) its different fignifications ii. 397.
Fiction) emotions raised by fiction i. 75, &c.
|