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Attributes) transferred by a figure of speech from one subject to ano

other ii. 212, &c.
Avarice) defined i. 41.
Avenue) to a house ii. 350.
Aversion) defined i. 98,99. 320. ii. 409,
Bacchius ii. 142.
Bajazet) of Racine censured i. 398.
Barren scene) defined ii. 321.
Bale) of a cohimn ii. 374.
Basso-relievo ii. 371.
Batrachomuomachia) censured i. 291.
Beauty, ch. 3. Intrinsic and relative i. 159. ii. 351. Beauty of

fimplicity i. 161. Of figure i. 162. Of the circle i. 163. Of the
square 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 secondary quality of objects i. 166. Beauty distin-
guished from grandeur i. 171, Beauty of natural colours i. 260.
Beauty distinguished from congruity i. 268. Consumimate beauty
feldom produces a constant lover i. 227. Wherein consists the
beauty of the human visage i. 336. Beauty proper and figurative

ii. 405,406.
Behaviour) gross and refined i. 94.
Belief) of the reality of external objects i. 75. Enforced by, a lively

narrative, or a good historical 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 inspired by gardening ii. 355.
Berkeley) censured ii, 399, note.
Blank verfe ii. 95. 127. Its aptitude for inversion ii. 130. Its

melody ii. 130. How far proper in tragedy ii. 317.
Body) defined ii. 395.
Boileau) cenfured ii. 201. 306.
Bonbatt i. 195. Bombast in action i. 198.
Bossii) censured ii. 324. note.
Burlesque) machinery does well in a burlesque poem i. 86. Bur.

lesque distinguifhed into two kinds i. 290.
Business) men of middle age best qualified for it i. 245.
Cadence ii. 76. 83.
Capital) of a column ii. 374.
Careless Husband) its double plot well contrived ii. 314.
Cascade i. 2: 2.
Cause) resembling causes may produce effects that have no resem.

blance ; and causes that have no resemblance may produce resein-
bling effects ii. 70. Cause defined ii. 416.
Chance) the mind revolts againft misfortunes that happen by chance
Character) to draw a character is the master-ftroke of description ii.

266, 267.
Characteristics) of Shaftsbury criticised i. 269. note.
Children) love to them accounted for i, 62. A child can discover

a pallion from its external ligns i. 348. Hides none of its emotiona
Chinese gardens ii.353. Wonder and furprise studied in them ii. 354.
Choreus ii. 142.
Choriambus il, 143,

ii. 300.

1. 354.

Chorus) an essential part of the Grecian tragedy ii. 324.
Church) what ought to be its form and situation ii. 367.
Cicero censured ii. 65. 77. 80.
Cid) of Corneille cenfui ed i. 366. 386.
Cinna) of Corneille ceníured i. 270. 363. 384.
Circle) its beauty i. 161.
Circuinitances) in a period, where they should be placed ii. 49. 55.
Class) all living creatures distributed into claffes ii. 384, 385.
Climax) in fenfe i. 182. 364. ii. 60. In found ii. 14. When there

are joined, che seatence is delightful ii. 74,
Coephores, of Elchylus censured i. 335.
Coexiitent einotions and pailions i. 102, &c.
Colongade) wnere proper ii. 360.
Colour) gold and silver esteemed for their beautiful colours i. 160.

A secondary quality i. 89. Natural colours i. 260. Colouring of

the human face, exquisite i. 260.
Columus) every coluiu ought to have a base i. 145. The base
ought to be 1quare i. 145. Columus admit different proportions
ii. 365. 367. What emotions they raite ii. 367. Column more
beautiful than a pilaster ii. 373. Its firm ii. 374. Five orders
of columns ii. 375. Capital at the Corinthian order censured ii.

Comedy) double plot in a comedy ii. 312.314. Modern manners do

beit in comedy ii. 301. Immorality of English comedy i. 52.
Comet) motion of the coniets and planets compared with respect to

beauty 1. 201.
Commencement) of a work ought to be modest and simple ii. 258.
Connon nature) in every species of animals i.go.ii. 383. We have

a conviction that is common nature is invariable ii. 384. Allo

that it is perfect or right i. go. ii. 384.
Common seife ii. 86.393.
Conimunication of paion to related objects. See Paffion. Coma

munication of qualities to related objects. See Propenfity.
Comparison i, 22, Ge. ch. 19., lo the early composition of all na.

tions, compartions are carried beyond proper bounds ii. 145.

Comparisous that resolve into a play of words ii. 173,
Complex emotion i. 103; &C.
Coniplex object) its power to generate paflion i. 65, 66. 192.
Complex perception ii. 401.
Complexion) what colour of dress is the most suitable to different

complexions i. 237.
Conception) defined ii. 397.
Concord) or harmony in objecls of fight i. 106.
Concordant sounds, defined i. 103.
Congreve) censured i. 52. 292. 340 note. ii. 316. 322.
Congruity and propriety, ch. 10. A secondary relation i. 267. note.

Congruity distinguished from beauty i. 268. Distinguished from
propriety i. 268. As to quantity, congruity coincides with proi

portion i. 275.
Connection) effential in all compofitions i. 32.
Conquest of Granada) of Dryden censured i. 383.
Consonants ii. 6.
Conítancy) confummate beauty the cause of inconftancy i. 327.
Construction) of language explained ii. 36. c.
Contemplation) when painful i. 251.
Contempt) raised by improper action i. 220,

ii. 354.

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i. 349:

Contrast, ch. 8. Its efiet in language ii. 1o. In a series of objects

ii. 12. Contrast in the thought requires contrast in the inembers

of the expresion ii. 30, 31. The eifect of contrait in gardeuing
Conviction) intuitive. See lutuitive conviction.
Copulative) to drop the copulative enlivens the expreffion ii. 33,&c.
Coriolanus) of Shakespear censured i. 388.
Corneille) censured i. 362. 378. 397. 401.
Corporeal pleasure i. 9,10. Low and sometimes mean i. 282,
Couplet ii. 96. Rules for its composition ii. 128, 129.
Courage) of greater dignity than justice i. 281.
Creticus ii. 142.
Criminal) the hour of execution seems to him to approach with a

swift pace i. 137.
Criticism) its advantages i. 15, Úc. Its terms not accurately defined
Crowd) defined ii. 41.4.
Curiosity i. 207. 222, &c.
Custom and Habit, ch. 14. Renders objects familiar i. 208. · Cuf-

tom dntinguished from habit i. 316, 317. Custoin puts the rich
and poor upon a level i. 331. Pate in the fine arts improved by

custom ii. 392. note.
Dactyle ii. 142.
Davila, cenfuied i. 257.
Declensions) explained ii. 37, 38.
Dedications. See Epiltles Dedicatory.
Delicacy) of taitei. 93. ii. 392.
Derition i. 273, 290.
Descartes) ceasured ii. 309. note.
Deicent) not painful i. 177.
Lefcription) it animates a description to represent things part as

present i. 83. The rules that ought to govern it ii. 257. A lively de-
fcription is agreeable, though the subject delcribed be disagreeable

ii. 266. No objects but those of light can be weil described ii. 402,
Descriptive personitications ii. 187.
Descriptive traccd; j. 359,
Lesire) deimned i. 42. li iuipels us to a tion i. 44. It determines

the will i. 181. Desire in a criminal to be punished i. 148. Le-

fire tends the moit to happiness when moderate. i. 168.
Dialogue) dialogue-writing requires great geuius i. 358, &c. In dia-

logue every expreflion ought to be iinted to the character of the
fpeaker ii. 277. Dialogue makes a deeper imprellion than narration
ii. 193. Qualified for exprefsing sentiments ii. 296. Rules for it
ii. 315, &c.
Dignity and grace, ch. at. Dignity of human nature ij. 387.
Dijambus ii. 143.
Dipiitliongs ii. 7.
Dilagreeable enotions and passions i. 83, &c.
Discordant fouuds) defined i. ?03.
Dispondeus ii. 143,
Disposition) detined ii. 408.
Disinilar emotions i. 104. Their effe ts when coexistent i. 107,

1o8. ij. 343: 365.
Dillimiar palions, their effects i. 116.
Piffocial pallicus i. 47. All of them painful i. go. and also disagree

able i. 21.

Distance) the natural method of computing the distance of objects ia

141, &c. Errors to which this computation is liable ii. 363.369.
Dieruchæus ii. 143
Door) its proportion ii. 357.
Double a. tion) in an epic poem il. 320.
Double dealer) of Congreve censured i. 383. ij. 322.
Double plot) in a dramatic composition ii. 313.

ancient and modern compared il. 324, 325.
Dramatic poetry, ch. 22.
Drapery) ought to hang loose i. 145.
Dreis) rules about dress i. 269. ii. 340.
Dryden) censured ji. 231. 315. 322.
Duties) moral duties distinguished into those which respect our

felves and those which respect others i. 276. Foundation of du-
ties that respect ourselves i. 276 of those that respect others i.

276. Duty of acting up to the dignity of our nature i. 280, 281.
Duelling-louse) its external form ii. 359. Internal form ii. 358.

Education) promoted by the fine arts i. 16. ii. 355. Means to pro-

mote in young persons a habit of virtue i. 58.
Effects) resembling effects may be produced by causes that have no

resemblance ii. 70. Effect defined ii. 416.
Efficient cause) of less 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 distinguished from figurative grandeur

ü. 16:, 162.
Emotion) what feelings are termed emotions i. 36. Emotions des

tined i, 38, &c. And their causes afligned i, 38, 39. Distinguish-
ed from pallions i. 41. Emotion generated by relations i. 59, &c.
Emnctions expanded upon related objects i. 59, &c. ii. 53. 69.
81. 115, 184. 185, 238. Emotions distinguished into primary and
Secondary i. 62. Raised by fiction i. 75, &c, Raised by painting
1. 8. Emotions divided into pleasant and painful, agreeable and
disagreeable i. 88, &c. ii. 404. The interrupted existence of
emotions i. 95, &c. Their growth and decay i. 97, &c. Their
identity i.

Coexistept emotions i, 102, &c. Einotions fimi-
far and distímilar i, 104. Complex emotions i. 104, 105. Effects
of liinilar coexistent einotions i. 105. ii. 365. Effects of diffimilar co-
existent emotions i, 107. II. 343. Influence of emotions upon our
perceptions, opinions and belief i. 124, &:c. 143. 230. 232. ii. 180.
202. 204. 217,&c. Emotions resemble their canles i. 144, &c. Emo-
tions of grandeur i. 170, (e. of sublimity i. 170. A low emotion i.
179. Emotion of laughter, ch. 7.of ridicule i. 220. Emotions when
contracted would not be too slow nor too quick in their succes,
hon i. 240. Emotions raised by the fine arts ought to be contrast.
ed in succeffion i. 240. Emotion of congruity i. 270. of propri-
ety i: 274. Emotions produced by human actions i. 279. Ranked
Scouding to their digaity i. 262. External signs of emotions,
ch.15. Attractive and repuisive einotions i. 346. What emos
tions do beft in fuccelfon, what in conjunction ii. 343. What
erlotions are raised by the productions of manufactures ii. 355
mate. Man is pallive with regard to his emotions ii. 395. We

are conscious of emotions as in the heart ii. 395.
Fixtaphasis) defined ii, 115. note. Ourhat never to be but upon words

fimoriance ii. 76, 77, 0170

#neld) 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 Englifh 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. Hote, Peculiarly qualified
for personification ii. 186. note.
Entablature ii. 373.
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
ludicrous images i. 242. Its commencement ougit to be nuest
and liinple ii. 258. In what respect it differs from a tragedy ii.
292. Distinguished into pathetic and moral ii. 294. Its good ef-
fests ij. 295. Compared with tragedy as to the subjects proper
for each ii. 296. How far it may borrow from history ii. 30L.

Rule for dividing it into parts ii. 383.
Epic poetry ch. 22.
Epicurus) censured ii. 398. izote.
Episode) in an historical poem ii. 310. Requisites ii. 311,
Epistles dedicatory) censured i. 266. note,
Epithets) redundant is. 283.
Epitritus ii. 144.
Eilays on man) criticised ii. 140.
Esteem) love of i. 155. 185.
Esther) of Racine censured i. 383. 386.
Eunuch) of Terence censured i. 401.
Euripides) censured i. 401. ii. 353.
Evergreens) cut in the ihape of animals ii. 348.
Effect of experience with respect to taste in the fine arts ii. 392.

Expression) elevated, low i. 179. Expression that has no distina

meaning i. 407. Menibers of a sentence expreffing a resemblance
Betwixt two objects, ought to resemble each other ii. 27, de.

Force of exprellion by fufpending the thought till the close ü. 61.
External objects) their reality i. 75.
External fenfes) distinguished into two kinds i. 9. External fenle
External signs) of emotions and passions, ch. 15. External signs of

paffion, what emotions they raise in a spectator i. 89. &c.
Eye-fight) influenced by pailion i. 142, 143. 230. 232.
Face) though uniformity prevail in the human face, yet every face is

distinguishable from another i. 263.
Faculty) by which we know paslion from its external signs i. 347.
Fairy Queen) criticised ii. 226.
Falle quantity) painful to the ear ii. 98.
Fame) love of i. 54.
Familiarity) its effect i. 98. 207. ii. 238. it wears off by absence i. 213-
Fashion) its influence accounted for i. 61. Faliion is in a continual

flux i. 166.
Fear) explained i. 70,60. Rises often to its utmost pitch in an instant

i. 98. Fear arising from affection or avection i. 99. Fear is in-

festious i. 46.
Feeling) its different significations ii. 397.
Fiction) emotions raised by tiction i. 75,66.

ii. 394.

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