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Figure) beauty of i. 61. Definition of a regular figure ii. 405.
Figures) fome paffions favourable to figurative expresion i. 392. ii:

Figures, ch. 20. Figure of speech ii. 190. 219. 236, 6c. Figures

were of old nuch Itrained ii. 146. 225.
Final cause) defined i. 284. Final cause of our sense of order and

connection i. 35, of the sympathetic emotion of virtue :, 58. of
the instinctive pallion of fear i: 70, 71. f the instinctive pallion of
anger i. 74. of ideal presence i. 84, cc. of the power that fiction
has over the mind i. 86. of emotions and pailuns i, 347, &c. of
the communication of pallion to related objects i. 155. of regular.
ity, uniformity, rder, and simplicity i. 161. of proportion i. 162.
of beauty i. 167. Why certain objects are neither pleasant nor
painful i. 176, 177. 201. of the pleasure we have in motion and
torce i. 206, ut curiosity i. 207. of wonder i. 215. of surprise i.
216. of the principle that prompts us to perfect every work i. 235.
of the pleasure or pain that results from the different circumstan-
ces of a train of perceptions i. 252, 5c. of congruity and proprie-
ty 1, 275, 6c. of dignity and meannessi, 284, 46. of habit i. 330,6C.
of the external ligus of passion and emotion i. 342 348, c. Why
articulate founds fingly agieeable are always agreeable in con-
juntion ii. 7. of the pleasure we liave in language ji. 286. of our
relish for various proportions in quantity ii. 362. Why delicacy
of taste is withheld from the bulk of mankind ii. 382. of our con-
viction of a common standard in every species of beings ii. 386,
of uniformity of t fte in the fine arts ii. 387, 388. Why the lense
of a right and a wrong in the fine arts is lets Jear ihan the sense
of a right and a wrong in adions ii. 390. Final cause of greater
importance than the eficient cause i. 984.
Fine arts) defined i. 14. 21. A fubjeét of reasoning i. 15. Edu.

cation promoted by the fine arts i. 16, 17. ii. 355. The fine arts
a great support to morality i. 17, 6c. ii. 356. 379, &c. Their
emotions ouglit to be contrafted in succeiliva i. 239. Uniforinity
and variety in the fine arts i. 255. Considered with respect to
dignity i. 283. How tar they may be regulated by cuftom i- 832.
None of them are imitative but painting and sculpture ii. 3. Aber-
rations from a true taste in thele arts ii. 389. Who qualified to

be judges in the fine arts il. 391.
Fluid) motion of fluids i. 902.
Foot) the efet that fyllables collected into feet have upon the ear

ii. 33. Musical feet detined ii. 85. note A list of verse feet ii. 142.
Force) produces a feeling that resembles it i. 144. Force, ch.5.-

Moving force i. 203. Force gives a pleasure difiering from that of

motion i. 203. It contributes to grandeur i. 904.
Foreign) preference given to foreign curicfities i. 214.
Fountains) in what form they ought to be i. 361.
French dramatic writers) criticited i. 368, acte. 384. ii. 336.
French verie) requires rlıyme ii. 198.
French language) more lively to the ear than the English ii. 120.

note. In French words the last syllable generally long and accented

ii. 120. note.
Friendship) considered with respekto dignity and mennefs i. 282.
Gallery) why it appears longer than it is in reality il. 346. Is not

an agreeable figure of a roum ii. 366,
Games) public ganies of the Greeks i. 204.

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Gardening) a fine garden gives lustre to the owner i. 69. note:-

Grandeur of manner in gardening i. 191. Its emotions ought to be
contrasted in succession i. 240. A small garden should be con-
fined to a single expreflion i. 241. ii. 340. A garden near a great
city should have an air of folitude i. 241. A garden in a wild
country should be gay and splendid i. 241. Gardening, ch. 24.
What émotions can be raised by it ii. 340. Its enotions compar-
ed with those of architecture ii. 340. Simplicity ought to be the
governing taste ii. 341. Wherein the unity of a garden consists ii.
344 How far should regularity be studied in it ii. 344. Relem-
blance carried too far in it ii. 344. note, Grandeur in gardening
ii. 345. Every unnatural object ought to be rejected ii. 347. Dif
tant and faint imitations dit please ii. 347. Winter-garden ii. 352.
The effect of giving play to the imagination ii. 354. Gardening
inspires benevolence ii. 355. and contributes to rectitude of man-
ners ii. 379.
General idea) there cannot be such a thing ii. 401. note.
General terms) should be avoided in compositions for amusement i.

191. ii. 278.
General theorems) why agreeable i. 165.
Generic habit) defined i. 324.
Generosity) why of greater dignity than justice i. 281.
Genus) defined ii. 411.
Gestures) that accompany the different paflions i. 338, 339. 341.
Gierusalemme liberata) censured ii. 306. 310.
Globe) a beautiful figure i. 258.
Good-nature) why of less dignity than courage or generosity i. 281.
Gothic tower) its beauty ii. 358. Gothic form of buildings ii. 367.
Government) natural foundation of fubmission to government i. 154.
Grace, ch. 11. Grace of motion i. 206. Grace analysed i. 286, &c.
Grandeur and subliniity, ch.4. Distinguished from beauty i. 171.

Grandeur demands not strict regularity i. 172. Regularity, or-
'der, and proportion, contribute to grandeur i. 172. Real and
figurative grandeur intimately connected i. 180.' Grandeur of
manner i. 186. Grandeur may be employed indirectly to hum-
ble the mind i. 193. Suits ill with wit and ridicule i. 241. Fixes
the attention i. 245. Figurative grandeur distinguished from fig-
urative elevation ii. 159. Grandeur in gardening ii. 345. Irregu-
larity and disproportion increase in appearance the size of a build-

ing ii. 370.
Gratification) of pallion i. 45. 53. 122. 227. ii. 180, &c. 202. 204.

Obstacles to gratification inflame a passion i. 100.
Gratitude, confidered with respect to its gratification i. 101. Ex-

erted upon the children of the benefactor i. 126. Punifliment of
ingratitude i. 278. Gratitude considered with respect to dignity

and meanness i. 282.
Greek words) finely composed of long and short fyllables ii. 134.
Grief)magnities its cause i. 128. Occasions a falle reckoning of time

i. 140. Is infectious i. 146. When immoderate is filent i. 390.
Gross pleasure i. 93.
Group) natural objects readily form themselves into groups i. 256.
Guido) censured ii. 232.
Habit, ch. 14. Prevails in old age i. 245. Habit of application to

business i. 249. 251. 254. Converts pain into pleasure i. 255.
Distinguished from custom i. 315. Puts the rich and poos.upon a
level i. 331, 332.


Harmony) or concord in objects of sight i. 106. Harmony diftin.

gui hed from melody ii. 81. note.
Hatred) how produced i. 99. Signifies more commonly affection

than paflion i.99. Its endurance i. 102.
Hearing) in hearing we feel no impreffion ii. 98.
Henriade) censured ii, 263. 302. 307. 310.
Hexameter) Virgil's hexameters extremely melodious, those of

Horace feldom fo ii. 81. And the reason why they are not ii. 95.
Structure of an hexameter line ii. 105. Rules for its structure
ii. 85, 86. Musical pauses in an hexametér line ii. 86. note,
Wherein its melody consists ii. 95.
Hiatus) defined ii. 8.
Hippolytus) of Euripides censured i. 385. ii. 333, 334.
History) why the history of heroes and conquerors is singularly

agreeable i. 57. 183. By what means does history raise our pai-

fions i. 81, 82. It rejects poetical images ii. 857, 258.
History painting. See painting.
Homer) defective in order and connection i. 32. His language finely

suited to his subject ii. 275. His repetitions defended ii. 282.

His poems in a great meafure dramatic ii. 394. Censured ii. 309.
Hope i. 99.
Horace) defective in connection i. 32. His hexameters not melo-

dious ii. 81. Their defects pointed out ii. 95.
Horror) objects of horror should be banifhed from poetry and paints

ing ii. 289.
House) a fine house gives lustre to the owner i. 62. note.
Human nature) a complicated machine i. 37.
Humanity) the finest temper of mind i. 93.
Humour) defined i. 292." Humour in writing distinguished from

humour in character i. 292,
Hyperbole i. 195. ii. 204, &c.
Hippobachius ii. 142.
lambic verse) its modulation faint ii. 81.
lambus ii. 142.
Jane Shore) censured i. 367. 377, 378.

not so ealily remembered as a perception is i. 276, 217. Suc.
cession of ideas i. 243. Pleafure and pain of ideas in a train i.
249, &c. Idea of memory defined ii. 398. Cannot be innate ii.
401. note. There are no general ideas ii. 401. note. Idea of an
object of light more distinct thau of any other object ii. 402.
Ideas distinguished into three kinds ii. 404. Ideas of imagination
not so pleasant as ideas of memory ii. 408.
Ideal presence i. 77, &c. raised by theatrical representation i. 81.

raised by painting i. 82.
Ideal system ii. 399. note.
Identity of a paifion or of an emotion i. 98.
Fet d'eau i. 203. ii. 347, 348, 349.
Jingle of words ii. 128. 135.
Iliad) criticised ii. 320.
Images) the life of poetry and rhetoric i. 79. 84. 191.
Imagination) the great instrument of recreation i. 218. To give

play to it has a good effect in gardening ii. 354. Its power in fab-
ricating images tl. 403. 408. Agreeablepels of ideas of imagina.
tion ü. 408.

i. 273.

Im itation) we naturally imitate virtuous actions i. 145. Not those

that are vicious i. 146. Inarticulate founds imitated in words ij.
67. None of the fine arts imitate nature except painting and
sculpture ii. 3. The agreeableness of imitation overbalances the
disagreeableness of the subject ii. 286. Distant and faint imita-

tions displease ii. 348.
Impression) made on the organ of sense i. 9.


Successive im-
pressions ii. 12.
Impropriety), in action raifes contempt i. 220. Its punishment
Impulse) a strong impulse succeeding a weak, makes a double im-

presfion : a weak impulse fucceeding a strong, makes scarce any

impreffion ii. 13.
Infinite series) becomes disagreeable when prolonged i. 234. note.
Innate idea) there cannot be such a thing ii. 401. note.
Instinct) we act sometimes by instinct i. 44, 45, 70, &c.
Instrument) the means or instrument conceived to be the agent

ii. 211.
Intellectual pleasure i. 9, 10.
Internal sense ii. 394.
Intrinsic beauty i. 159.
Intuitive conviction) of the veracity of our senses i. 75. of the dig.

nity of human nature i. 280. ii. 387. of a common nature or
standard in every species of beings ii. 383. of this standard being
invariable ii. 384. and of its being perfect or right ii. 384. In-
tuitive conviction that the external signs of passion are natural,

and also that they are the same in all men i. 347, 348.
Intuitive knowledge of external objects i. 75.
Inversion) and inverted style described ii. 40, &c. Inversion gives

force and liveliness to the expression by suspending the thought till
the close ii. 61. Inversion how regulated ii. 65,66. Beauties of
inversion ii. 65, 66. Inversion favourable to pauses ii. 108. Full

scope for it in blank verse ii. 129.
Involuntary signs) of pafsion i. 337. 341, 342.
Ionicus ii. 143
Joy) its cause i. 53. 99. Infectious i. 146. Considered with respecta

to dignity and meanness i. 282.
Iphigenia of Racine) censured i. 334.
Iphigenia in Tauris) cenfured i. 401. ii. 334, 335.
Irony) defined i. 296.
Italian tongue) too smooth ii. 10. 110te. Italian words finely diver-

sified by long and short syllables ii. 8. note.
Judgment and memory in perfection, seldom united i. 22 Judg.

ment feldom united with wit i. 29.
Julius Cæfar) of Shakespear censured i. 88.
Justice) of less dignity than generosity or courage i. 281.
Kent) his skill in gardening ii. 343.
Key-note ii. 76. 84.
Kitchen-garden ii. 338.
Knowledge) intuitive knowledge of external objects i. 75. Its

pleasures never decay i. 330.
Labyrinth) in a garden ii. 348.
Landscape) why so agreeable i. 105. 264. More agreeable when

conprehended under one view ije 346. A landscape in painting

ought to be confined to a single expression i. 241. Contrast ought

to prevail in it i. 323.
Language) power of language to raise emotions, whence derived i.

79. 84. Language of pailion, ch. 17. Ought to be suited to the
sentiments i. 357. 391. 393, 394. broken and interrupted i: 391.
of impetuous paffion i. 373. of languid paflion i. 393. of calm
emotions i. 393. of turbulent paffions i. 394. Examples of lan-
guage elevated above the tone of the sentiment i. 403. Of lan-
guage too artificial or too figurative i. 403. too light or airy i.
494. Language how far imitative ii. 3. Its beauty with respect
to fignification ii. 4, s. 14, &c. Its beauty with respect to sounds
ii. 5, &c. It onght to correspond to the fubject ii. 19. 270. Its
Structure explained ii. 36, &c. Beauty of language from a re-
semblance betwixt found and signification ii. 3, 4.67, &c. The
character of a language depends on the character of the nation
whose language it is ii. 120. note. The force of language confists
in raising coniplete images i. 84, 85. ii. 260. Its power of pro-
ducing plea ant emotions ii. 286. Without language man would

scarce be a rational being ii. 416.
Latin tongue) finely divertified with long and short syilables ii. 134.
L'Avare) of Moliere censured i. 386.
Laughter i. 218.
Laugh of derision or fcorn i. 278.
Law) defined i. 276.
Laws of human nature) necessary succellion of perceptions i. 25.

243. We never act but through the impulse of desire i. 43. 147.
An object loses its relish by familiarity i. 98. Passions sudden in
in their growth are equally sudden in their decay i. 101. 322.
Every passion ceases upon obtaining its ultimate end i. 109. An
agreeable cause produceth always a pleasant emotion, and a disa-

greeable cause a painful emotion i. 148.
Laws of motion) agreeable i. 164.
Les Freres ennemies) of Racine censured i. 373.
lewis XIV. of France) censured i. 266. note.
Lex talionis) upon what principle founded i. 237.
Line) definition of a regular line ii. 405,
Littleness) is neither pleasant nor painful i. 176. Is connected with

respect and huinility i. 338, 339. note.
Livy, censured ii. 16.
Locke) censured ii. 399. note.
Logic) cause of its obscurity and intricacy i. 349.
Logio) improper in this climate ii. 306.
Love) to children accounted for i. 63. The love a man bears to his

country explained i. 66. Love produced by pity i. 68. Love
gradual i. 28. It fignifies more commonly affectiou than passion
j. 99. Love inflamed by the caprices of a mistress i. 100. Its en-
durance i. 101. To a lover absence appears long i. 135. Love
assumes the qualities of its object i. 145. when exceflive becomes
Selfilh i. 168, considered with respect to dignity and meanness i.
282, seldom constant when founded on exquilite beauty i. 328.
$ll reprclented in French plays i. 384. when immoderate is 1lent

i. 391.

Love for love) censured i. 327.
Lowness) is neither pleasant nor painful i. 177.
Lucan) too minute in his descriptions i. 190. censured ii. 293.
Ludicrous i. 218. may be introduced into an epic poem i, 242

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