Figure) beauty of i. 6r. Definition of a regular figure ii. 405.
Figures) fome paffions favourable to figurative expreffion i. 392. i
Figures, ch. 20. Figure of fpeech ii. 190. 219. 236, &c. Figures
were of old much trained ii. 146. 225.
Final caufe) defined i. 284. Final caufe of our fenfe of order and
connection i. 35. of the fympathetic emotion of virtue, 58. of
the inftinctive pallion of fear i. 70, 71. f the inftinctive paflion of
anger i. 74. of ideal prefence i. 84, Cc. of the power that fiction
has over the mind i. 86. of emotions and pailions i. 147, &c. of
the communication of paffion to related objects i. 155. of regular.
ity, uniformity, der, and fimplicity i. 161. of proportion i. 162.
of beauty i. 167. Why certain objects are neither pleafant nor
painful i. 176, 177. 201. of the pleasure we have in motion and
force i. 206. of curiolity i. 207. of wonder i. 215. of furprise i.
216. of the principle that prompts us to perfect every work i. 235.
of the pleasure or pain that refults from the different circumftan-
ces of a train of perceptions i. 252, &c. of congruity and proprie-
ty 1. 275, c. of dignity and meanness i. 284, &c. of habit i. 330, &c.
of the external figns of paffion and emotion i. 342. 348, c. Why
articulate founds fingly agreeable are always agreeable in con-
junction ii. 7. of the pleature we have in language ii. 286. of our
relifh 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 cominon standard in every species of beings ii. 386.
of uniformity of t fte in the fine arts ii. 387, 388. Why the fenfe
of a right and a wrong in the fine arts is lefs lear than the fenfe
of a right and a wrong in actions ii. 390. Final caufe of greater
importance than the efficient caufe i. 284.
Fine arts) defined i. 14. 21. A fubject of reafoning i. 15.
cation promoted by the fine arts i. 16, 17. ii. 355. The fine arts
a great fupport to morality i. 17, &c. ii. 356. 379, &c. Their
emotions ought to be contrafted in fucceflion i. 239. Uniformity
and variety in the fine arts i. 255. Confidered with respect to
dignity i. 283. How far they may be regulated by cuftom i 332.
None of them are imitative but painting and fculpture ii. 8. Aber-
rations from a true taste in these arts ii. 389. Who qualified to
be judges in the fine arts ii. 391.
Fluid) motion of fluids i. go2.
Foot) the effet that fyllables collected into feet have upon the ear
ii. 33. Mulical feet defined ii. 85. note A lift of verse feet ii. 142.
Force) produces a feeling that refembles it i. 144. Force, ch. 5.-
Moving force i. 203. Force gives a pleasure difiering from that of
motion i. 20g. It contributes to grandeur i. 904.
Foreign) preference given to foreign curiofities i. 214.
Fountains) in what form they ought to be ii. 351.
French dramatic writers) criticited i. 362, ncte. 384. ii. 336.
French verie) requires rhyme ii. 138.
French language) more lively to the ear than the English ii. 120.
mate. In French words the last fyllable generally long and accented
Friendship) confidered with respect to dignity and meanness i. 282.
Gallery) why it appears longer than it is in reality ii. 346. Is not
an agreeable figure of a room ii. 366.
Games) public games of the Greeks i. 204.
Gardening) a fine garden gives luftre to the owner i. 62. note.-
Grandeur of manner in gardening i. 191. Its emotions ought to be
contrafted in fucceffion i. 240. A fmail garden fhould be con-
fined to a fingle expreflion i. 241. ii. 340. A garden near a great
city fhould have an air of folitude i. 241. A garden in a wild
country should be gay and fplendid i. 241. Gardening, ch. 24-
What emotions can be raised by it ii. 340. Its emotions compar-
ed with thofe of architecture ii. 340. Simplicity ought to be the
governing tafte ii. 341. Wherein the unity of a garden confiits ii.
344. How far fhould regularity be ftudied 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. 47. Dif-
tant and faint imitations displease ii. 347. Winter-garden ii. 352.
The effect of giving play to the imagination ii. 354. Gardening
infpires benevolence ii. 355. and contributes to rectitude of man-
ners ii. 379.
General idea) there cannot be fuch a thing ii. 401. note.
General terms) fhould be avoided in compositions for amusement i.
191. ii. 278.
General theorems) why agreeable i. 165.
Generic habit) defined i. 324.
Generofity) why of greater dignity than justice i. 281.
Gestures) that accompany the different paffions i. 338, 339. 341.
Gierufalemme liberata) cenfured ii. 306. 310.
Globe) a beautiful figure i. 258.
Good-nature) why of lefs dignity than courage or generofity i. 281.
Gothic tower) its beauty ii. 358. Gothic form of buildings ii. 367.
Government) natural foundation of fubmiffion to government i. 154.
Grace, ch. 11. Grace of motion i. 206. Grace analysed i. 286, &c.
Grandeur and fublimity, ch. 4. Diftinguished from beauty i. 171.
Grandeur demands not ftrict 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 diftinguished from fig-
urative elevation ii. 159. Grandeur in gardening ii. 345. Irregu
larity and disproportion increase in appearance the fize of a build-
ing ii. 370.
Gratification) of paflion i. 45. 53. 122. 227. ii. 180, &c. 202. 204.
Obftacles to gratification inflame a paffion i. 100.
Gratitude, confidered with respect to its gratification i. 101. Ex-
erted upon the children of the benefactor i. 126. Punishment of
ingratitude i. 278. Gratitude confidered with respect to dignity
and meannefs i. 282.
Greek words) finely compofed of long and fhort fyllables ii. 134.
Grief) magnifies its caufe 1. 128. Occafions a falfe reckoning of time
i. 140. Is infectious i. 146. When immoderate is filent i. 390.
Grofs pleafure i. 93.
Group) natural objects readily form themselves into groups i. 256.
Guido) cenfured ii. 232.
Habit, ch. 14. Prevails in old age i. 245. Habit of application to
bufinefs i. 249. 251. 254. Converts pain into pleasure i. 255.
Diftinguished from cuftom i. 315. Puts the rich and poor.upon a
level i. 331, 332.
Harmony) or concord in objects of fight i. 106. Harmony diftin.
gui hed from melody ii. 81. note.
Hatred) how produced i. 99. Signifies more commonly affection
than paffion i. 99. Its endurance i. 102.
Hearing) in hearing we feel no impreffion ii. 98.
Henriade) cenfured ii. 263. 302. 307. 310.
Hexameter) Virgil's hexameters extremely melodious, thofe 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 ftru&ure
ii. 85, 86. Mufical paufes in an hexameter line ii. 86. note.
Wherein its melody confifts ii. 95.
Hippolytus) of Euripides cenfured i. 385. ii. 333, 334.
Hiftory) why the hiftory of heroes and conquerors is fingularly
agreeable i. 57. 183. By what means does history raise our pal-
fions i. 81, 82. It rejects poetical images ii. $57, 258.
History painting. See painting.
Homer) defective in order and connection i. 32. His language finely
fuited to his fubject ii. 275. His repetitions defended ii. 282.
His poems in a great measure dramatic ii. 294. Cenfured 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 fhould be banished from poetry and paint
Houfe) a fine house gives luftre to the owner i. 62. note.
Human nature) a complicated machine i. 37.
Humanity) the fineft temper of mind i. 93.
Humour) defined i. 292. Humour in writing diftinguished from
humour in character i. 292.
Hyperbole i. 195. ii. 204, &c.
Hippobachius ii. 142.
Iambic verfe) its modulation faint ii. 81.
Jane Shore) cenfured i. 367. 377, 378.
Idea) not fo easily remembered as a perception is i. 216, 217. Suc-
ceffion of ideas i. 243. Pleasure 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 fight more diftinct than of any other object ii. 402.
Ideas diftinguished into three kinds ii. 404. Ideas of imagination
not fo pleafant as ideas of memory ii. 408.
Ideal prefence i. 77, &c. raifed by theatrical
raised by painting i. 82.
Ideal fyftem ii. 399. note.
Identity of a paffion or of an emotion i. 98.
Jet d'eau i. 203. ii. 347, 348, 349.
Jingle of words ii. 128. 135.
Iliad) criticifed ii. 320.
Images) the life of poetry and rhetoric i. 79. 84. 191.
Imagination) the great inftrument of recreation í. 218. To give
play to it has a good effect in gardening ii. 354. Its power in fab-
ricating images ii. 403. 408. Agreeableness of ideas of imagina
Zion ii, 408.
Im itation) we naturally imitate virtuous actions i. 145. Not thofe
that are vicious i. 146. Inarticulate founds imitated in words ii.
67. None of the fine arts imitate nature except painting and
fculpture ii. 3. The agreeablenefs of imitation overbalances the
difagreeableness of the fubject ii. 286. Diftant and faint imita-
tions displease ii. 348.
Impreffion) made on the organ of sense i. 9. ii. 397.
Impropriety) in action raifes contempt i. 220. Its punishment
i. 273.
Impulse) a strong impulfe fucceeding a weak, makes a double im-
preffion: a weak impulse fucceeding a strong, makes scarce any
impreffion ii. 13.
Infinite feries) becomes difagreeable when prolonged i. 234. note.
Innate idea) there cannot be fuch a thing ii. 401. note.
Inftinct) we act fometimes by instinct i. 44, 45. 70, &c.
Inftrument) the means or inftrument conceived to be the agent
Intellectual pleasure i. 9, 10.
Internal fenfe ii. 394.
Intrinsic beauty i. 159.
Intuitive conviction) of the veracity of our fenfes i. 75. of the dig-
nity of human nature i. 280. ii. 387. of a common nature or
ftandard in every fpecies 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 figus of paffion are natural,
and also that they are the fame in all men i. 347, 348.
Intuitive knowledge of external objects i. 75.
Inverfion) and inverted ftyle defcribed ii. 40, &c. Inverfion gives
force and livelinefs to the expreffion by fufpending the thought till
the clofe ii. 61. Inverfion how regulated ii. 65, 66. Beauties of
inverfion ii. 65, 66. Inverfion favourable to paufes ii. 108. Full
fcope for it in blank verse ii. 129.
Involuntary figns) of paffion i. 337. 341, 342.
Joy) its caufe i. 53. 99. Infectious i. 146. Confidered with respect
to dignity and meannefs i. 282.
Iphigenia of Racine) cenfured i. 334.
Iphigenia in Tauris) cenfured i. 401. ii. 334, 335.
Italian tongue) too smooth ii. 10. note. Italian words finely diver-
fified by long and short fyllables ii. 8. note.
Judgment and memory in perfection, feldom united i. 22. Judg.
ment feldom united with wit i. 29.
Julius Cæfar) of Shakespear cenfured i. 88.
Juftice) of lefs dignity than generosity or courage i. 281.
Kent) his fkill in gardening ii. 348.
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 fo agreeable i. 105. 264. More agreeable when
comprehended under one view ii. 344. A landscape in painting
ought to be confined to a fingle expreffion i. 241. Contraft ought
to prevail in it i. 323.
Language) power of language to raise emotions, whence derived i.
79. 84. Language of pallion, ch. 17. Ought to be fuited to the
fentiments i. 357. 391. 393, 394. broken and interrupted i. 391.
of impetuous pallion i. 393. of languid paffion i. 393. of calm
emotions i. 393. of turbulent paflions i. 394. Examples of lan-
guage elevated above the tone of the fentiment 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 refpect
to fignification ii. 4, §. 14, &c. Its beauty with respect to founds
ii. 5, &c. It ought to correfpond to the fubject ii. 19. 270. Its
ftructure explained ii. 36, &c. Beauty of language from a re-
femblance betwixt found and fignification ii. 3, 4. 67, &c. The
character of a language depends on the character of the nation
whofe language it is ii. 120. note. The force of language confifts
in railing complete images i. 84, 85. ii. 260. Its power of pro-
ducing pleasant emotions ii. 286. Without language man would
fcarce be a rational being ii. 416.
Latin tongue) finely diverfified with long and short fyllables ii. 134.
L'Avare) of Moliere cenfured i. 386.
Laugh of derifion or fcorn i. 278.
Law) defined i. 276.
Laws of human nature) neceffary fucceffion of perceptions i. 25.
243. We never act but through the impulfe of defire i. 43. 147.
An object lofes its relish by familiarity i. 98. Paffions fudden in
in their growth are equally fudden in their decay i. 101. 322.
Every paflion ceafes upon obtaining its ultimate end i. 109. An
agreeable caufe produceth always a pleasant emotion, and a difa-
greeable caufe a painful emotion i. 148.
Laws of motion) agreeable i. 164.
Les Freres ennemies) of Racine cenfured i. 378.
Lewis XIV. of France) cenfured i. 266. note.
Lex talionis) upon what principle founded i. 237.
Line) definition of a regular line ii. 405.
Littleness) is neither pleafant nor painful i. 176. Is connected with
respect and humility i. 338, 339. note.
Livy cenfured ii. 16.
Locke) cenfured ii. 399. note.
Logic) caufe of its obfcurity 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. 98. It fignifies more commonly affection than paffion
i. 99. Love inflamed by the caprices of a mistress i. 100. Its en-
durance i. 101. To a lover abfence appears long i. 135. Love
affumes the qualities of its object i. 145. when exceffive becomes
felilh i. 168, confidered with refpect to dignity and meanness i.
282, feldom conftant when founded on exquifite beauty i. 328.
ill reprefented in French plays i. 384. when immoderate is filent
Love for love) cenfured ii. 322.
Lownefs) is neither pleasant nor painful i. 177.
Lucan) too minute in his defcriptions i. 190. cenfured ii. 293.
Ludicrous i. 218, may be introduced into an epic poem i, 242,
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